Thèse (M. A.)--Université Laval, 1997. / Bibliogr. : f. 129-132. Publié aussi en version électronique.

This paper interprets the myth of the hymen through the archetypal theory of Carl Gustav Jung. Today it has been proven that there exists no hymen that breaks at a woman’s first intercourse. Nonetheless, the myth of the hymen lives on – creating enormous consequences for girls and women. In several cultures the hymen symbolizes purity and a gift to be offered to the man on the wedding night. According to the theories of C. G. Jung, the human psyche contains archaic remains that run cross cultures within the whole of humanity. These remains, called archetypes by Jung, hold special functions within the subconscious, and have been expressed in religions, myths and fairytales since the beginning of mankind, according to Jung. In this paper, tales and collectively held ideas about the hymen will be examined and analyzed. The archetypes found in the material will be identified and their functions presented. The object of the paper is to try to gain a better understanding of how a belief in a nonexistent part of the body has been able to survive. According to my interpretation of Jung's theories, the hymen can be seen as a result of emotionally charged functions in the human psyche, which contributed to the creation of myth of the hymen.  Keywords: Analytical psychology, Archetypes, C. G Jung, Hymen, Virginity

Thesis (Ph. D.)--Ludwig Maximilians Universität, 1975. / Includes bibliographical references (p. 267-289).

The theoretical part of the diploma thesis entitled {\clqq}Scandinavian myths and legends, cycle of combined technique art works`` is composed of four chapters. First chapter contains essay on Scandinavians mythology. Second chapter shows the relationship between mythology and psychology. Third chapter includes analysis of Scandinavian mythology by the help of psychological theory of C. G. Jung. Last chapter is describing the creation process of art works and used combined technique. Practical part contains art works on the topic Scandinavian myths and legends elaborated with combined technique.

Made available in DSpace on 2016-04-28T20:38:56Z (GMT). No. of bitstreams: 1 Caio Vinicius Martins.pdf: 674423 bytes, checksum: 9024700184c34ad4aa8bea2607a8f763 (MD5) Previous issue date: 2014-09-15 / Already in his time Jung pointed at the lack of openness by science and the spirit of that period for contemplating religiosity in their reflections and, consequently, considering it in their practices. Thus, the Swiss psychiatrist indicated a dichotomy in the modern man‟s psyche that was being developed within a conflictual dynamics, where scientific, materialistic and critical thought overlapped religion and, consequently, the natural religious function of psyche. It was thereby evidenced a clash between science and religion, the first having been dominated and subjected to the second in preceding centuries, but now having imposed its domain and rejected recognition to the second with the same tenacity. Recent research has also identified this same conflict that affects patients and therapists; however, overcoming it is an even more difficult task than one could imagine or wish. This intersection between psychology and religion proves to be an extremely sensitive area. Those are knowledges and practices quite distinct, that require extreme caution and respect from the practitioner. Emergent scientific streams of thought have shown this acknowledgement to religious dimension while welcoming the equivalent disciplinary field without seeking to reduce it to a scientific theory. We believe that the psychology of Carl Gustav Jung has much to contribute in the construction of a channel for dialogue and understanding between the two fields. Between God and reason we will find the human soul, once abandoned by scientists and religious men, having finally found a voice in the Swiss psychiatrist. Moreover, some consider Jung's psychology as a religious psychology, considering his psychotherapy as an essentially religious attitude. With this understanding, we identify a bridge between these two thinking models, namely, science and religion, which in another time would be seen as irreconcilable. Jung‟s thinking, his view of religion and the sacred, his comprehension of modern man‟s disenchantment as well as his therapeutic method provide us with a substantial contribution to dealing with this conflict. The study indicates a need for openness to approach religiosity in therapeutic setting, which is not usually easy or simple due to its sensitive interdisciplinary field. It also points at a new time, a post-secular time, which demands a new religious paradigm that suits the critical spirit of modern man, where Analytical Psychology has much to offer, addressing and attending to the human soul, a channel between psychology and religion, a working path for the psychotherapist / Já em seu tempo Jung apontava para a falta de abertura por parte da ciência e do pensamento da época para contemplar a religiosidade em suas reflexões e, consequentemente, considerá-la em suas práticas. Assim, o psiquiatra suíço indicava uma dicotomia na psique do homem moderno que se desenvolvia dentro de uma dinâmica conflituosa, onde o pensamento científico, materialista e crítico se sobrepunha à religião e, consequentemente, à natural função religiosa da psique. Evidenciava-se, desse modo, um embate entre ciência e religião, tendo a primeira sido dominada e submetida à segunda nos séculos precedentes, mas que agora impunha o seu domínio e rejeitava prestar reconhecimento à segunda com o mesmo afinco. Pesquisas recentes também vêm identificando este mesmo conflito, que afeta pacientes e terapeutas; contudo, superá-lo é uma tarefa ainda mais difícil do que se imaginaria ou se desejaria. Essa interseção entre psicologia e religiosidade mostra-se um campo extremamente delicado. São saberes e práticas bastante distintos, que demandam do profissional muita cautela e respeito. Correntes de pensamento científico emergentes têm demonstrado esse reconhecimento à dimensão religiosa, acolhendo-a enquanto campo disciplinar equiparado, sem buscar reduzi-la a uma teoria científica. Acreditamos que a psicologia de Carl Gustav Jung tem muito a contribuir na construção desse canal de diálogo e compreensão entre os dois campos. Entre Deus e a razão encontraremos a alma humana, outrora abandonada por cientistas e religiosos e que finalmente encontrou voz no psiquiatra suíço. Aliás, há quem considere a psicologia de Jung como uma psicologia religiosa, e veja em sua psicoterapia uma essencial atitude religiosa. Com este entendimento, vamos identificando uma ponte entre esses dois modelos de pensamento, isto é, ciência e religião, que em outra oportunidade julgaríamos irreconciliáveis. O pensamento de Jung, sua visão de religiosidade e do sagrado, sua compreensão do desencantamento do homem moderno e seu método terapêutico oferecem uma importante contribuição para lidar com este conflito. O estudo assinala uma necessidade de abertura para a abordagem da religiosidade em clínica, o que nem sempre é fácil ou simples por se tratar de um delicado campo interdisciplinar. Aponta, ainda, para um novo momento, um momento pós-secular, que demanda um novo modelo religioso que se adeque ao espírito crítico do homem atual, onde a psicologia analítica tem muito a oferecer, abordando e cuidando da alma humana, canal entre psicologia e religião, via de trabalho do psicoterapeuta

O presente trabalho traz um levantamento de como a arte aparece nos escritos de Jung, ressaltando seu papel na elaboração da teoria junguiana. Para tanto, foi feita uma pesquisa nos índices gerais das chamadas obras completas de Jung partindo de termos como: arte, artístico, literatura, pintura, etc. Também foram consultadas algumas obras de Jung que não se encontram em tal compilação. Como a arte perpassa a vida e a obra de Jung de diferentes maneiras, foi necessário situar tais encontros em relação aos outros pontos teóricos da psicologia analítica. Os dados encontrados foram organizados nos seguintes agrupamentos: a obra de arte entendida pela psicologia analítica; a arte nos textos iniciais de Jung: concepções em transformação; a relação da arte com os conceitos de complexo e de anima; Jung espectador; territórios vizinhos à arte (criatividade, uso de recursos expressivos na terapia e analogias entre arte e análise); e algumas considerações sobre estética. Constatou-se, por um lado, que a temática artística embasou o pensamento junguiano, dando apoio à consolidação de uma psicologia que se volta para a incomensurabilidade da psique e que extrapola os limites metodológico e epistemológico da ciência moderna. Por outro lado, a psicologia analítica tem abertura e escopo teórico para olhar fenômenos artísticos. Nesse sentido, o trabalho apresenta, com base no levantamento aqui traçado e em algumas contribuições de autores pós-junguianos, reflexões sobre as especificidades da articulação entre a psicologia analítica e a arte, enfatizando o caráter simbólico da experiência artística e ressaltando que o encontro da arte com a psicologia analítica pode garantir que haja espaço psíquico para o desconhecido, para o não óbvio e não familiar. Desta forma, abrem-se possibilidades para o desenvolvimento de um padrão de alteridade e eventual ampliação de consciência / This work presents a survey on how art appears in Jung\'s writings, emphasizing its role in the construction of his theory. Therefore, a research focusing terms related to art, such as: art, artistic, literature, painting, etc., was made in the general indexes of Jung\'s Collected Works. Some of Jung\'s other texts were also taken into account. As art permeates Jung\'s life and work in different ways, it was necessary to relate what was found to others theoretical aspects of Analytical Psychology. The data found on this research were organized according to the following themes: the work of art understood by Analytical Psychology; art in Jungs early texts: changing conceptions; the relation of art to the concepts of complex and anima; Jung as an spectator of works of art; neighboring areas of art (creativity, the use of expressive resources in therapy, and analogies between art and analysis); and some considerations about aesthetics. Jungian thoughts fundamentals included the artistic subject supporting the consolidation of a psychology concerning the incommensurability of the psyche and going beyond the methodological and epistemological limits of modern science. On the other hand, Analytical Psychology has an openness as well as a theoretical scope to consider artistic phenomena. In this sense, based on the survey here realized and also on contributions of some post-Jungians authors, the paper presents reflections concerning the specificities of the articulation between Analytical Psychology and art, emphasizing the symbolic aspect of the artistic experience and highlighting the encounter between art and Analytical Psychology as a way to ensure that there is psychic space for the unknown and for contributing to the development of a pattern of alterity and possible expansion of consciousness

Comment faire un travail scientifique si le chercheur est déjà trop obsédé par son objet d’étude et si, d’ailleurs, ce dernier n’est pas seulement un objet réifié mais doté d’une certaine réalité de l’âme ? La distance délicate entre le subjectif et l’objectif est ainsi l’enjeu principal de cette thèse, une recherche dont le chercheur est un cinéphage devenu cinéphile, qui est hanté par sa passion pour son objet bien vivant qu’est le cinéma de Wong Kar Wai mais qui a envie de vivre symboliquement cette passion. Il s’agit donc de l’équation personnelle d’après C. G. Jung et de cette distance ironique selon Antoine de Baecque. Vis-à-vis d’une telle difficulté méthodologique qui est en fait une occasion très généreuse, une approche empirique et une attitude religieuse se proposent. D’où le chercheur-cinéphile se lance dans un itinéraire homérique, à la recherche de son mythe du cinéma total qui n’est rien d’autre que son archétype du cinéma dont le symbole vivant se veut exactement Wong Kar Wai. Cette recherche devient, au fur et à mesure, une découverte, vu que la nostalgie n’est pas ailleurs, mais chez soi. Dans une telle circumambulation sous la forme d’une mise en abîme, le rapprochement entre une histoire du cinéma et une Histoire du cinéma n’est qu’inéluctable. Re-contextualisés sont les souvenirs personnels du chercheur du cinéaste hongkongais et plusieurs protagonistes rencontrés dans sa cinéphilie (Bresson, King Hu, Langlois, Bazin, Tarkovski, la bande de Truffaut, Dumont, etc.) sur la route et envisageable est une filiation toujours en devenir entre ce qui arrive avant et ce qui vient après. Que ces pages soient une scène de la création-critique et que la fonction cinéphile se manifeste à travers elle. / How to conduct a scientific work if the researcher is himself already incurably obsessed by his study material? This question fits in quite well for the present case, since the PhD student is an inveterate lover of Wong Kar Wai’s cinema. In other words, the situation is that of a cinephage-turned-cinephile — extremely conditioned by a living work inescapably defined by an amorous aura — who is trying to find a way out, in a relatively rational way, that is to say, symbolically, to deal with this entanglement as mise en abyme. Two methodological as well as deontological perspectives are thus drawn on, “the personal equation” adapted by C. G. Jung and “the ironic distance” coined by Antoine de Baecque. Hopefully, the writing of this dissertation could be regarded as a circumambulation whose goal is nothing more than its very process which is a nostalgic yearning for the cinema archetype, or, in terms of André Bazin’s idea(l): the myth of total cinema.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-11T13:30:02Z No. of bitstreams: 1 hermenegildoferreiragiovannoni.pdf: 418360 bytes, checksum: c3b3d2d893a1de5312ae825473abbc34 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-11T15:59:11Z (GMT) No. of bitstreams: 1 hermenegildoferreiragiovannoni.pdf: 418360 bytes, checksum: c3b3d2d893a1de5312ae825473abbc34 (MD5) / Made available in DSpace on 2016-10-11T15:59:11Z (GMT). No. of bitstreams: 1 hermenegildoferreiragiovannoni.pdf: 418360 bytes, checksum: c3b3d2d893a1de5312ae825473abbc34 (MD5) Previous issue date: 2009-08-31 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / Partindo da hipótese de uma fundamentação comum entre religião e arte no âmbito da vida anímica do ser humano, esta dissertação pretende realizar um estudo do conceito de símbolo na psicologia analítica, desenvolvida por Carl Gustav Jung, na medida em que esta considera tanto os fenômenos artísticos quanto os religiosos como simbólicos. O primeiro capítulo fornece uma análise dos principais conceitos indispensáveis à compreensão da idéia de símbolo, partindo das primeiras formulações teóricas e chegando até seu delineamento final. O segundo capítulo discorre sobre a aplicação do conceito de símbolo anteriormente analisado aos aspectos psicológicos da criação e da fruição artísticas e da experiência religiosa. / Starting with the hypothesis of a common foundation for religion and art in the context of the psychical life of human beings, this dissertation intends to realize a study of the concept of symbol in the analytical psychology developed by Carl Gustav Jung, to the extend that it regards both the artistic and the religious phenomena as symbolical. The first chapter provides an analysis of the main concepts needful to the understanding of the idea of symbol, beginning with primary theoretical formulations and coming to their final delineation. The second chapter deals with the application of the previously analyzed concept of symbol to the psychological aspects of artistic creation and fruition, and of religious experience.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-08T10:55:02Z No. of bitstreams: 1 felipeluismelodesouza.pdf: 1227952 bytes, checksum: f9cfa306b8e5ddcb5a5fc033e18a3b40 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-09T13:37:18Z (GMT) No. of bitstreams: 1 felipeluismelodesouza.pdf: 1227952 bytes, checksum: f9cfa306b8e5ddcb5a5fc033e18a3b40 (MD5) / Made available in DSpace on 2015-12-09T13:37:18Z (GMT). No. of bitstreams: 1 felipeluismelodesouza.pdf: 1227952 bytes, checksum: f9cfa306b8e5ddcb5a5fc033e18a3b40 (MD5) Previous issue date: 2015-08-07 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta tese é analisar O Livro Vermelho, de C. G. Jung, descrevendo o que ele é, como ele é e o que ele traz. Escrito e rescrito entre os anos de 1913 e 1928, este trabalho foi considerado pelo autor o seu experimento mais difícil, a autoanálise que lhe permitiu encontrar o seu ponto de referência e elaborar a sua psicologia, a Psicologia Analítica. O livro ficou guardado durante muitas décadas e só foi publicado recentemente (2009), o que explica a pouca bibliografia disponível até o momento. O nosso trabalho visa defender a tese de que o central destas experiências, após o rompimento com a psicanálise, consiste na compreensão das polaridades da psique e, concomitantemente, na elaboração de concepções a respeito de Deus. No Livro Vermelho, aparecem concepções de Deus que não se limitam às concepções cristãs dogmáticas, sendo muitas vezes totalmente inusuais e até blasfemas. Ao final, apresenta a ideia do Deus Abraxas, o Deus acima das polaridades, e defende que o homem possui dignidade suficiente para não ter que se submeter aos desígnios divinos. Ao mesmo tempo, ao longo da tese, discorremos sobre a correlação entre o Livro Vermelho e as ideias que serão reunidas nas Obras Completas, como os tipos psicológicos, a anima, o Self, a diferença entre a religião oriental e ocidental e a individuação. / The objective of this thesis is to analyze The Red Book, by C. G. Jung, describing what it is, how it is and what it brings. Written and rewritten between 1913 and 1928, this work was considered by the author to be his most difficult experiment, the self-analysis that allowed him to find his reference point and prepare his psychology, Analytical Psychology. The book was stored away for many decades and was only published recently (2009), which explains the limited bibliography available until now. Our work aims to argue that the central point of these experiments, after the departure from psychoanalysis, consists in comprehending the polarities of the psyche and, simultaneously, in the elaboration of conceptions regarding God. In The Red Book, there appear conceptions of God that are not limited to dogmatic Christian concepts, often of a totally unusual and even blasphemous nature. At its end, it puts forward the idea of God Abraxas, the God above the polarities, and argues that man possesses enough dignity not to have to submit to divine designs. At the same time, over the course of the thesis, we discuss the correlation between The Red Book and the ideas that will be gathered together in the Complete Works, such as the psychological types, the anima, the Self, the difference between western and eastern religions and individuation.

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