A presente dissertação fundamenta-se na psicologia analítica, criada pelo psiquiatra e psicanalista suíço Carl Gustav Jung. Partindo deste referencial e tomando como base os pilares da pesquisa qualitativa foi realizado um grupo vivencial de sonhos com estudantes ingressantes no 1º ano de graduação em Psicologia de uma universidade pública, com o objetivo de compreender como os estudantes estão vivenciando esse momento específico. Por meio do estudo do movimento grupal nos encontros, de uma análise do material obtido e da elaboração simbólica a respeito do desenvolvimento do grupo e dos encontros foi possível identificar e observar símbolos que apontam para um período de mudanças e enfrentamento de angústias e medos, encontrando sustentação e significação no grupo. O grupo vivencial com a utilização de recursos expressivos artísticos revelou-se também como meio de autoconhecimento, possibilitando o exercício da alteridade e seu manejo, indicando seu uso durante a formação do psicólogo em diversos momentos / The present dissertation is based on analytical psychology, created by the Swiss psychiatrist and psychoanalyst Carl Gustav Jung. Starting from this framework and based on the pillars of qualitative research, an experiential dream group was realized with incoming students in the first year of graduation in Psychology from a public university, in order to understand how the students are experiencing this moment. Through the study of the group movement in the meetings, an analysis of the material obtained and the symbolic elaboration of the same and of the encounters, it was possible to identify and observe symbols that refer to a process of change and confrontation of fears that found support in the group. The experiential group with expressives artistcs resources revealed itself also as a tool for self-knowledge, allowing the exercise of alterity and its management, its use being indicated for the training of psychologists, in several moments

The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination. The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.

Goodbye to All That Again concerns the odyssey of an Iraq War veteran who must complete his journey past desert combat and academic strife in order to reclaim his heroic identity. The novel uses a fragmented storytelling mode that offers readers thirteen years of the protagonist’s timeline in a nonlinear sequence. Through this technique, the novel evokes the cognitive disassociation experienced by individuals who suffer Post Traumatic Stress and echoes the postmodern practices employed by American military novelists such as Joseph Heller and Tim O’Brien for the last sixty years. GOODBYE TO ALL THAT AGAIN seeks to intervene in the discourse of the American war novel by updating the depiction of military members from unwilling draftees, the situation Heller and O’Brien portray, to that of career-driven volunteers. The novel also considers adjustment concerns raised by the political correctness movement, a bar to civilian reintegration unknown by prior generations of veterans. In doing so, the writer hopes to adjust the zeitgeist, a major concern of his practice as detailed in his STATEMENT OF PURPOSE, toward a more accurate representation of military members so that society can more effectively meet their needs.

This thesis looks at the Jungian concept of the archetypes and the connection between the process of individuation and social ecology. An unnatural split between thinking and feeling is seen to be entrenched in society and to be a cause for conflict. It is argued that this split has its origins in the individual 's unresolved inner conflict of ego and shadow. The idea of the archetype is examined in the context of Jung's observations about psychic features which he made throughout his lifetime. While it is true the psychic archetypes have an immense significance for a society in general, it is also true that archetypes are absolutely central in the life of the individual. The central part played by mythology and fairy tale in Jungian psychology is explored using a North American Indian myth as a vehicle for an exposition for some major concepts. Inheritance of archetypes is perhaps the central feature of controversy surrounding the Jungian concept of psychic archetypes and a possible mechanism of inheritance based on the idea of the 'meme' and its relationship to the gene, is examined. The ancient story of Aladdin and the Lamp, is found to contain inherent psychic features or artefacts, which elucidate the concept of the ego/shadow polarity, and so can be seen to constitute an example of an 'archaeology' of archetypes. The apparent dual nature of the archetype is further explored by comparing and contrasting the archetypes of the 'wise old man' and the 'wicked magician', and this dual nature exploration is seen to be in essence an examination of the ego/shadow equilibrium, which exerts its influence on all manifestations at the moment of expression. This unexpected influence on the archetype, despite the archetype's collective nature, explains the positive and negative faces of the archetypes and seems to resolve some questions about their moral, amoral and/or polar nature. The resolution of psychic conflict in the context of Jungian individuation and how the individuation process may influence the expression of collective features, is also found to have the ego/shadow equilibrium as the central psychic structure. / Master of Science (Hons) (Social Ecology)

This study is textual in its resource rather than empirical, and is applied to the experiential nature of the dream-ego. It is conceptual in its application, and its domain of inquiry is focussed on redescribing and reinterpreting the Jungian literature in order to further inform the understanding of the role of the dream-ego in analytical psychological practice. The major underlying assumption which forms the primary foundation for this study is that ‘mind is the subjective experience of brain’ and this statement serves the purpose of positioning the study as being anchored in biological science but not biological in scope. The statement also implies there is no conflict in the conclusions of neurobiological studies and phenomenological studies and positions these realms as correlates of each other. The subjective experience of brain is the realm in which our lives are lived and in which all our perceptions, ideas and feelings are experienced and so the phenomenological approach of the study is a consequence of that fact. The focus is on the dream-ego itself, using a selection of Jung’s own recorded dreams as vehicles to support, describe and reinterpret concepts from the literature in order to elucidate the dream-ego’s function in psychological health. If the dreaming state were exclusively an innocuous epiphenomenon of neurological processes with no experiential function, then it would be expected that the images generated would be quarantined from consciousness entirely, for reasons of psychic stability and hence then cease to be images, but the commonality and regularity of the dream-ego experience indicates an evolved psychic phenomenon with a definite relationship to the waking-ego. The remarkable images and associations experienced in dreams are expressions of the psyche’s uncompromising experiential authenticity and although these dream experiences may be profoundly complex, the dream-ego is seen to have an underlying naivety whose nature is captured by the title of Charles Rycroft’s (1981) book “The Innocence of Dreams”. When the dream-ego is contrasted to the waking-ego it becomes clear that the major difference is in this ‘innocence’ which is a consequence of the attenuation of rationality and volition for the dream-ego. This weaker rationality and volition prevents the dream-ego from talking or walking its way out of confrontation with unconscious content which manifests before it. The dream-ego experience is based on feelings and emotions which were the original reasons and criteria driving the censorship of the ‘feeling toned complexes’, as Jung describes them. The experience of unconscious material by the vulnerable dream-ego and the subsequent transfer to the waking-ego provides the option for the waking-ego to ‘reconsider’ or to make decisions based on the authentic feelings of the psyche. The fact that mammals exhibit REM sleep, and the strong case for mammals dreaming during that period, complicates the understanding of human dream function. In non dreaming sleep the ego is annihilated but is underwritten by the neural networks which constitute the ego when ‘active����. Since neural networks are known to atrophy with disuse, the sequestered ego is at risk of loss of fidelity on manifestation, and therefore may mismatch the environmental context. The study presents the dreaming state as the periodic partial activation of the ����neural ego���� to prevent atrophy and to maintain ego retrieval fidelity. This concept has applicability also to the animal case, since they must maintain their behavioural fluency and environmental congruence. Once the evolved dreaming state is established in mammals it may be subject to further evolutionary possibilities and subtleties in the human case. A consequence of this study is the presentation of the dream-ego as the partial arousal of the waking-ego, rather than the normal wording of the dream-ego as the half asleep waking-ego, since the dream-ego is seen as the psyche rehearsing its ego. The defining phenomenology of the dream-ego is found in its vulnerability to the feelings and emotions of the psyche, but paradoxically this vulnerability is its strength in its role as the feeling nexus between the unconscious and conscious mind. The waking-ego which may misconstrue its role in the psyche’s scheme of things and become aloof in its mentations believing all problems are intellectual, has the innocence of the dream-ego experience as its lifeline to the psyche’s authenticity. It is the intent of this study to contribute to the understanding of the role of the dream-ego experience in therapeutic practice, and placing the dream-ego as the protagonist of the study, to be attentive to the power of its innocence. / Doctor of Philosophy (PhD)

Such personality idiosyncrasies of creative persons as a preference for disorder and complexity rather than neatness and simplicity may erroneously have earned them the nomenclature of maladjusted, emotionally unstable and eccentric. This field study explores the conventional approach to the evaluation of creative behaviour and suggests that there is an urgent need to revolutionise our acceptance and encouragement of such behaviour in an integrated social and educational sense. Chapter 1 reviews various definitions of creativity and in particular the sociological discrimination against creativity in contemporary society. The notion of the relativity of the predominant social, educational and psychological research perspective is raised. The confusion in meaning which the terms &quotegiftedness&quote, &quotegenius&quote and &quotecreativity&quote evoke in the context of classical research efforts is discussed in Chapter 2. Chapter 3 reviews traditional psychoanalytic, psychiatric and psychometric research into creativity. Orthodox methodology which fragments the total human individual, is seen as detrimental to understanding, accepting and facilitating research into creativity. It has only been where total personality has been considered, that research has proved meaningful. Chapter 4 attempts to correlate the theoretical viewpoints of various authors on creativity, in particular Jung, Barron, Maslow, Assagioli and Hudson. The empirical chapter 5 is divided into four sections. Section I explores teacher attitudes towards creative personality characteristics using Torrance's Ideal Pupil Checklist. The results of the sample of A.C.T. teachers surveyed,correspond closely with those found by Torrance in five other countries, although creativity is markedly less encouraged in Australia than in the United States. Section II explores the attitudes of a sample of Year 10 A.C.T. high school students towards creative personality characteristics. Results show an alarmingly low correlation with expert rankings. Section III compares the teachers' and students' responses on the checklist and finds interesting discrepancies. Section IV is concerned with identifying &quotecreativity&quote in students using a number of instruments, in particular the Myer-Briggs Type Indicator. Additionally, results on this instrument are compared with WL/WQ results and career preferences, where few trends emerged. Chapter 6 restates the necessity of adopting a total personality perspective when considering creativity. The &quotepsychosynthesis&quote model is suggested as fundamentalising and facilitating creative growth personally, educationally and socially. Futuristic aspects of evolution and creativity are raised. Wholeness as opposed to separatism and synthesis as opposed to fragmentation are considered paramount contemporary psychological issues, as exemplified by the &quotesoul searching&quote associated with the drug culture. The need to achieve growth and balance between the different, diverse and complementary, aspects of the psyche, both in individuals and in society is seen as being paramount and of increasing sociological relevance.

<p>All my short stories have been written in an intuitive way according to which no outline of characters, intrigue or plot was made in advance. A consequence of this process is that not even myself as the author is aware of the meaning of the texts and therefore I too have to interpret the stories. Because of the character of the text, I use an analysis of archetypes according to C. G. Jung’s analytic psychology. In addition to this I also use concepts from hermeneutical and existential phenomenology, represented here by Viktor Frankl, Emmanuel Lévinas, Martin Heidegger and Paul Ricoeur. The Jungian analysis shows that the content in the short story <em>Sjön</em> (The lake) in a high degree is structured in a way that correlates very well with this method. When it comes to the phenomenological thinkers, several of their concepts are applicable in my short story. In the philosophy of Frankl and Heidegger, the concept of <em>conscience</em> is a warning to the individual to take care of his life, which is a possible interpretation of the anxiety of my main character.  When it comes to his seeking for the significance of an important earlier event in his life the concept of <em>memory</em> in the discourse of Ricoeur also bring some light to the understanding. Finally, the concept of <em>the Other</em> in Lévinas´ philosophy can explain his longing for a reestablishing of a meaning in his life.</p><p> </p>

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<p>Uppsatsens syfte är att förstå Walter Stenströms konstsaga <em>Pojken och trollen eller äventyret</em>, med hjälp av Carl Gustav Jungs psykologi, och utifrån Jungs psykologi analysera eventuella allmänmänskliga drag i sagan. Analysen av sagan bygger på en hermeneutisk grund, varpå texttolkningen utgår från närläsning som metod, som innebär att texten detaljstuderas.</p><p> </p><p>Analysen visar att sagan kan tolkas ur ett vuxenpsykologiskt perspektiv, där olika arketypiska symboler är frekventa, och som i sin tur svarar mot olika psykiska utvecklingsförlopp. Kungen symboliserar individens medvetna sida, och drottningen den omedvetna sidan. Trollen symboliserar individens bortträngda emotioner, och prinsessan symboliserar individens innersta kärna, som med Jungiansk terminologi benämns som Självet. Pojken i sagan symboliserar den arketypiske hjälten som befriar och återställer balansen inom individen.</p><p>   </p><p>Analysen visar också att sagan kan tolkas utifrån ett barnpsykologiskt perspektiv, där de arketypiska symbolerna fungerar som projektionsobjekt. Barnet kan då projicera sina emotioner på dessa projektionsobjekt, vilket i sin tur leder till att barnet lättare kan sortera i sin inre värld. Analysen visar även att sagans arketypiska symboler kan hjälpa barnet att stärka sin egen Jagutveckling. </p>

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