In dem Bericht werden Methoden und Ergebnisse experimenteller Untersuchungen an verfügbaren Ortsdosisleistungsmessgeräten in Feldern gepulster, ionisierender Strahlung beschrieben. Es zeigte sich, dass die meisten Messgeräte nur erheblich eingeschränkt für die Messung dieser Art Strahlung geeignet sind. Ionisationskammern, soweit einsetzbar, stellen das geeignetste der untersuchten Messprinzipien dar. Felder gepulster Strahlung treten bei einer Vielzahl industrieller, medizinischer und wissenschaftlicher Anwendungen auf. Die Veröffentlichung richtet sich an die in diesen Bereichen tätigen Strahlenschützer.

The subject of this dissertation is W. H. Auden's use of the Jungian psychology of individuation and the Kierkegaardian theology of existence. Its purpose is to demonstrate the importance of Jungian and Kierkegaardian thought in poetry written during 1939 through 1942, the first four years of Auden's residency in the United States and the first four years of his return to the church. The purpose is achieved by applying a paradigm encompassing both psychology and theology to an analysis of Jungian and Kierkegaardian thought in the principal sonnets of "The Quest" and to a detailed explication of two longer poems, New Year Letter and For the Time Being.

The aim of this thesis was to explore the experience of “self” within the clinical context of adult survivors of childhood trauma. Childhood trauma in this study referred to a range of childhood experiences of emotional and physical assault, including encounters with various kinds of abuse and neglect. The focus was on the experience of a sense of disintegration and dislocation, associated to aspects of self being in conflict. This was explored from theoretical perspectives of Jungian analytic psychology, as well as art therapy.Answers were sought to the questions of how claywork, as a form of art therapy, may facilitate the integration of the self and contribute to the development of a healing dialogue with feared and hated aspects of self. Grounded in Jungian theory, integration of the self was conceptualised as a movement towards “differentiating wholeness”. The study took the form of a phenomenological-hermeneutic case study. One participant’s experience of making and discussing a clay sculpture in a therapeutic setting according to Edwards’ method, was analysed thematically. It was concluded that the potential of claywork in therapy to facilitate the integration of the self is related to three aspects. Firstly, claywork in therapy may promote a concrete personification of feared and hated aspects of self, which may enable the maker to view these aspects from a distance, and learn to understand them in a new way. Secondly, claywork in therapy may facilitate the safe ‘unearthing’ of repressed feelings as well as hidden aspects of the personality. Thirdly, claywork’s potential to mediate symbolic functioning was shown to be an important aspect of the integration process. These findings confirmed and extended existing theory regarding the usefulness of claywork in psychotherapy with adult survivors of childhood trauma. Brief recommendations for future research were provided.

O objetivo deste trabalho é apresentar uma leitura do romance Drácula, do escritor irlandês Bram Stoker, publicado em 1897. O propósito do estudo é identificar os arquétipos e imagens predominantes em Drácula, mostrando em que medida eles representam questões pertinentes à sociedade vitoriana e aos públicos receptores que obra teve desde então. A obra é publicada em um momento histórico que se configura ponto crucial na conflituada transição entre os antigos valores rurais britânicos e os da moderna sociedade urbana contemporânea, e a conseqüência desta transição é uma mudança drástica no código comportamental britânico. Diversos elementos desta transformação podem ser identificados nas representações simbólicas encontradas no romance de Stoker, e a voracidade com que a obra é consumida pelos leitores desde a época vitoriana se configura sintoma das premências decorrentes da excessiva repressão daquele período. A análise do arquétipo do vampiro e das imagens arquetípicas apresentadas em Drácula se dará predominantemente através do exame das implicações psicológicas e antropológicas ligadas ao imaginário do Sangue. O embasamento teórico se ampara nas contribuições prestadas por Carl Gustav Jung e Gilbert Durand. A dissertação vem subdividida em três capítulos. Na primeira parte do capítulo um apresento as contextualizações referentes a certos fenômenos observados na sociedade vitoriana, especialmente no que tange às implicaturas de gênero no código comportamental da época, e na segunda apresento contextualizações referentes a personagens históricos que influenciaram Bram Stoker na criação de seu personagem principal. No segundo capítulo, remeto ao embasamento teórico, apresentando os conceitos definidos por Jung nos quais a leitura do capítulo 3 se ampara, bem como analiso símbolos, imagens e arquétipos em Drácula de acordo com os regimes da imaginação propostos por Durand. No terceiro capítulo ofereço minha leitura do romance, na qual identifico e analiso imagens e símbolos do Sangue presentes no romance. Na conclusão, apresento as últimas considerações, com o intuito de ratificar as fortes ligações que se estabelecem entre os significados velados inscritos no romance e as vivências da sociedade receptora, tendo como base o mito do vampiro e sua associação com o imaginário do sangue na tentativa de explicar a bemsucedida e contínua recepção do romance. / The aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.

Text in English / Summary: This work aims at establishing Jung's importance as a Nietzsche commentator. Although Jung's work is generally unacknowledged by the mainstream of Nietzsche scholarship, a number of philosophers have joined him in recognizing the relevance of Iranian religious lore to Nietzsche; the visionary nature of Nietzsche's experiences of Zarathustra; and the link between these experiences and his criticism of ethics. Jung sees Nietzsche as something of a kindred spirit, "and refers to that philosopher again and again throughout his writings. In his seminar on Nietzsche's Also sprach Zarathustra, Jung analyzes that work much as he would a patient's dream. While this approach allows Jung to project his own views onto Nietzsche, it also succeeds in restoring essential aspects of Nietzsche's thought which other, less foolhardy commentators fail to capture. Nietzsche and Jung both speak of going "beyond good and evil" (jenseits von Gut und Bose) as an integral part of their respective conceptions of human fulfillment. The notion that we ought to try to transcend the distinction between good and evil, rather than obstinately cling to the good, potentially constitutes an immense, fundamental challenge to our ordinary beliefs about ethics. At the same time, Jung's elaboration of this into a more general form of nonduality suggests a solution to that most basic problem of ethics--which Nietzsche raised most forcefully--namely that of how ethical standards might be justified without falling prey to such basic obstacles as the "is/ought" problem. / Philosophy, Practical and Systematic Theology / D.Litt. et Phil. (Philosophy)

We see the film like a reality because our perception of the film is like a reality around us. Movie as a dream and like a dream has unique tools how describe our soul and unconscious processes. This advantage is a crucial for my research, how can be useful for understanding how our unconscious works. C. G. Jung and Joseph Campbell and his work helps me with looking for the answer. How can film speak to us through the psychological layer instead of the narrative layer.

O objetivo deste trabalho é apresentar uma leitura do romance Drácula, do escritor irlandês Bram Stoker, publicado em 1897. O propósito do estudo é identificar os arquétipos e imagens predominantes em Drácula, mostrando em que medida eles representam questões pertinentes à sociedade vitoriana e aos públicos receptores que obra teve desde então. A obra é publicada em um momento histórico que se configura ponto crucial na conflituada transição entre os antigos valores rurais britânicos e os da moderna sociedade urbana contemporânea, e a conseqüência desta transição é uma mudança drástica no código comportamental britânico. Diversos elementos desta transformação podem ser identificados nas representações simbólicas encontradas no romance de Stoker, e a voracidade com que a obra é consumida pelos leitores desde a época vitoriana se configura sintoma das premências decorrentes da excessiva repressão daquele período. A análise do arquétipo do vampiro e das imagens arquetípicas apresentadas em Drácula se dará predominantemente através do exame das implicações psicológicas e antropológicas ligadas ao imaginário do Sangue. O embasamento teórico se ampara nas contribuições prestadas por Carl Gustav Jung e Gilbert Durand. A dissertação vem subdividida em três capítulos. Na primeira parte do capítulo um apresento as contextualizações referentes a certos fenômenos observados na sociedade vitoriana, especialmente no que tange às implicaturas de gênero no código comportamental da época, e na segunda apresento contextualizações referentes a personagens históricos que influenciaram Bram Stoker na criação de seu personagem principal. No segundo capítulo, remeto ao embasamento teórico, apresentando os conceitos definidos por Jung nos quais a leitura do capítulo 3 se ampara, bem como analiso símbolos, imagens e arquétipos em Drácula de acordo com os regimes da imaginação propostos por Durand. No terceiro capítulo ofereço minha leitura do romance, na qual identifico e analiso imagens e símbolos do Sangue presentes no romance. Na conclusão, apresento as últimas considerações, com o intuito de ratificar as fortes ligações que se estabelecem entre os significados velados inscritos no romance e as vivências da sociedade receptora, tendo como base o mito do vampiro e sua associação com o imaginário do sangue na tentativa de explicar a bemsucedida e contínua recepção do romance. / The aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.

O objetivo deste trabalho é apresentar uma leitura do romance Drácula, do escritor irlandês Bram Stoker, publicado em 1897. O propósito do estudo é identificar os arquétipos e imagens predominantes em Drácula, mostrando em que medida eles representam questões pertinentes à sociedade vitoriana e aos públicos receptores que obra teve desde então. A obra é publicada em um momento histórico que se configura ponto crucial na conflituada transição entre os antigos valores rurais britânicos e os da moderna sociedade urbana contemporânea, e a conseqüência desta transição é uma mudança drástica no código comportamental britânico. Diversos elementos desta transformação podem ser identificados nas representações simbólicas encontradas no romance de Stoker, e a voracidade com que a obra é consumida pelos leitores desde a época vitoriana se configura sintoma das premências decorrentes da excessiva repressão daquele período. A análise do arquétipo do vampiro e das imagens arquetípicas apresentadas em Drácula se dará predominantemente através do exame das implicações psicológicas e antropológicas ligadas ao imaginário do Sangue. O embasamento teórico se ampara nas contribuições prestadas por Carl Gustav Jung e Gilbert Durand. A dissertação vem subdividida em três capítulos. Na primeira parte do capítulo um apresento as contextualizações referentes a certos fenômenos observados na sociedade vitoriana, especialmente no que tange às implicaturas de gênero no código comportamental da época, e na segunda apresento contextualizações referentes a personagens históricos que influenciaram Bram Stoker na criação de seu personagem principal. No segundo capítulo, remeto ao embasamento teórico, apresentando os conceitos definidos por Jung nos quais a leitura do capítulo 3 se ampara, bem como analiso símbolos, imagens e arquétipos em Drácula de acordo com os regimes da imaginação propostos por Durand. No terceiro capítulo ofereço minha leitura do romance, na qual identifico e analiso imagens e símbolos do Sangue presentes no romance. Na conclusão, apresento as últimas considerações, com o intuito de ratificar as fortes ligações que se estabelecem entre os significados velados inscritos no romance e as vivências da sociedade receptora, tendo como base o mito do vampiro e sua associação com o imaginário do sangue na tentativa de explicar a bemsucedida e contínua recepção do romance. / The aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.

Orientador: Elisabeth Bauch Zimmermann / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:07:36Z (GMT). No. of bitstreams: 1 Zanatta_MariaCecilia_M.pdf: 1501616 bytes, checksum: 734e8edc11754f019e326f0e22610e78 (MD5) Previous issue date: 2010 / Resumo: Dentre os teóricos que buscaram uma visão mais abrangente de ser humano em relação às manifestações culturais de todos os tempos, C. G. Jung (1875-1961), foi quem se dedicou ao estudo da alma humana através de imagens de sonhos, mitos e símbolos da cultura, por acreditar que a atuação do inconsciente se dá através de várias formas de expressão. O processo de criação segundo Jung diz respeito à tradução feita pelo artista de imagens primordiais, vindas espontaneamente do inconsciente, para a linguagem do presente. Ao criar uma obra de arte, o artista transforma sua conexão com o inconsciente em algo acessível a todos, possibilitando que cada um de nós possa também estar reconectando consigo mesmo. Desta forma é que é considerado que o cinema pode atuar como fonte de projeção e transformação interna do indivíduo. O cinema, como qualquer forma de expressão humana, oferece total condição para que elementos culturais se expressem, mesmo quando utiliza elementos arcaicos da cultura que não se alinham aos transmitidos pela tradição corrente. Este é o caso da alquimia e por este motivo ela foi escolhida como foco do trabalho. O desafio proposto foi olhar para o cinema procurando por estes elementos e o resultado foi uma forma de resgate da antiga alquimia em produções humanas atuais. Nesta dissertação analiso quatro filmes como ilustração da discussão principal: A Festa de Babette, Navigator, uma Odisséia no Tempo, Um Beijo Roubado e Stalker. Foi utilizada uma abordagem que, ao mesmo tempo em que procura identificar uma imagem dentro do imaginário tradicional, pretende ser respeitosa no que diz respeito à dimensão simbólica inatingível da obra de arte / Abstract: Among the theoreticians that sought a wider view of the human being in relation to worldwide cultural manifestations, C. G. Jung (1875-1961), chose the study of the human soul through dreams, myths and cultural symbols, because he believed the unconscious acted through several expression forms. The Cinema, as other forms of human expression, offers a good medium for the expression of cultural elements, even when it uses archaic elements that are dissimilar to those transmitted through tradition. This is also the case of Alchemy, which therefore was chosen as the focal point of this Dissertation. We revisited, thus, alchemy through moving pictures. According to Jung, the creative process is related to the translation, made by the artist, of primordial images, spontaneously originated in the unconscious, to the contemporary language. When an artist creates a work of art, she transforms her connection to the unconscious into something accessible to everyone, making it possible for us to also reconnect to our own selves. In that way, we can consider the cinema as a source of projection and internal transformation of the individual. In this dissertation I discuss alchemy through the illustrative analysis of four movies: "Bebette's Feast", "Navigator, a Medieval Odissey", "My Blueberry Nights" and "Stalker". The approach used was to search for images of the movie within the traditional imaginary at the same time as due respect was paid to the unattainable symbolic dimension of the works of art / Mestrado / Mestre em Multimeios

This dissertation is a phenomenological study on the origin of expressive arts as an innate human need rooted deeply in the psyche in order to grasp and relate to the human condition. Carl Gustav Jung said, “Life has no rules and that is its mystery.” Art compensates for the chaos that originates and often rules life. The history of art and its evolution in society was explored to paint a picture of the experiences that dominate and leave permanent etchings of the complexities, attachments, and traumas on the psyche. I explored the history of art and its ability to stimulate curiosities, discoveries, and learning. Additionally, I followed the birth of art education and its crossroads within the discovery of the unconscious mind and Jungian psychology. I followed the effects of the unconscious mind and psychology on art and art education, the ecological agents of the Industrial Revolution, the birth of the middle class, and the new accessibility of art. I also discussed the Industrial Revolution and its impact on pushing the artist to new interior boundaries of altered states and the birth of abstract art. Moreover, I looked at expressive art, painting, poetry, and sculpture as the foreground to discover the psychic energy and complexes that stimulate and inspire the artist. I presented eight artist interviews randomly chosen from different backgrounds, specialties, and age. The data analysis process allowed me to gain insights into the artists’ perceptions of how art has enriched the development of their psyches and their lives.