Thesis (Ph. D.)--University of Wollongong, 1997. / Typescript. Bibliographical references: leaf 263-278.

Thesis (MA (Drama))--University of Pretoria, 2006. / Includes bibliographical references. Includes filmography. Available on the Internet via the World Wide Web.

Thesis (Ph. D.) -- Pacifica Graduate Institute, 2006. / Includes bibliography.

Thesis (M.Ed.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 125-128.

Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 1999. / Thesis submitted for the degress of Master of Science (Hons.). Includes bibliographical references (leaves 123-125).

This research inquiry is an autobiographical exploration and elucidation of the lived-experience of Self-Transformation; Self-transformation connoting a comprehensive framework that comprises personal, professional, social and spiritual renewal. The study emphasizes a mind-body-spirit holism as the whole experiential reality of the person is considered. Thus, transformation is viewed as a psycho-spiritual process. An integral aspect of the transformation process is listening to the inner voice, “the voice of a fuller life, of a wider more comprehensive consciousness” (Jung, 1954. p. 184). The degree to which the transformation process ripens and the integration of the personality realized, seems directly contingent on the conscious listening to and actual follow through on the guidance of the inner voice (Assagioli, 1965; Jung, 1954; Sinetar, 1986; Luke, 1984). As an autobiographical inquiry, lived-experience refers to the actual living-ness of experience: becoming, indwelling, the heuristics of experience. It is about floundering in the flux, living the paradox of knowing that one does not know yet yielding into the flux and the ambiguity inherent in experiencing the phenomenon and conducting the inquiry. The analytical psychology of C.G. Jung (Collected Works, 1953–1979) is used as the main theoretical framework in which to ground a psychology of transformation. The phenomenon of Self-transformation is termed the process of individuation (Jung, 1959), spiritual psychosynthesis or Self-realization (Assagioli, 1965), and spiritual emergence (Grof and Grof, 1989). Individuation is viewed as an evolutionary growth process. As a lifelong existential project, it entails undergoing several rounds on the transformation spiral—ongoing, punctuated episodes of personal transition and psychological shifts in consciousness, in which we go through the process of passage between one life phase and the next in a cyclical pattern of death and rebirth (Bridges, 1980). Sharp (1991) says that individuation is a process of psychological differentiation informed by the archetypal ideal of wholeness, the Self, which relies on an vital relationship between the ego and the unconscious; the goal being the development of the in-dividual personality. Jung (1966) viewed individuation as an internal, subjective process of integration and a process of self-and-collective synergy. The synthesis of both these processes constitutes wholeness. How this process manifests as lived-experience is the focus of this inquiry. The phenomenon is elucidated by employing and blending two modes of inquiry, heuristics (Moustakas, 1990) and autobiography as in Allport's (1942) idiographic research, both components of a qualitative (interpretive) methodology. The six phases of heuristic research, (initial engagement, immersion, incubation, illumination, explication and creative synthesis), are naturally operative within the transformation process and are used to describe the unfolding of the inquiry process and the lived-experience, and as the means for data collection and analysis. Analysis of the autobiographic data revealed the following salient features of the transformation process—a renaissance call to wholeness (premonition phase), light bows to darkness (holistic disintegration), the unformed silence (excursion into the abyss), awakening of the heart (illumination and initiation into rebirth), and return to innocence (a second dark night of the soul and a deeper integrative synthesis). These stages entail overlapping and divergent psychological processes that illuminate a unique pattern inherent in the renewal process. Implications for professional practice, education and research are discussed, including a call for a broader conceptual framework that encompasses the spiritual as integral to the healing and educating of lives. / Graduate

This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.

D.Comm. / Worldwide there are strong indicators that organisations are experiencing a leadership crisis because of the fundamentally and radically changing world significantly impacting on leaders' effectiveness. The leaders of the future will have to be highly mature to cope with the different and more pressing demands placed on them. This study applies Jung's concept of “individuation” to organisational leadership to study leaders' psychosocial maturity, and its relationship with derailment and burnout as indicators of failed leadership.

Ship of Fools is a novel excerpt. The title comes from Plato’s Republic as well as the book Stultifera Navis by Sebastian Brant, published in 1494. There is also a painting by Hieronymus Bosch (c. 1490–1500) with the same name. Influences include Jungian psychology, Joseph Campbell’s “The Masks of God” series, and anthropological studies of Amazonian shamanism.

In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death. This script formed part of my second practical research project that explored the ways of making Helen’s character present (both scripts that culminated out of my two practical research projects are included in the section of the Accompanying Material). I analyse the process of writing the scripts of the first and second practical research project through the use of Jungian archetype theory. In the first chapter of the thesis, I explore what an archetype is according to Jungian theory and then explain how this theory enables me to comment on the process of reinterpreting the myth of Helen of Troy through the writing of the two scripts. In the second chapter, which is the commentary on the first practical research project, I show how archetype theory provides a theoretical tool with which I can clarify and analyse how I reinterpreted and/or reworked the archetypal emotional energies of Menelaus, Hermione, Hecuba, Priam, Paris, Telemachus in the writing of new characters. In the third chapter, which is the commentary on the second practical research project, I investigate how the archetype theory helped me identify the key emotional experiences of the performers’ Helen characters, experiences which I organised and developed further in the writing of my own Helen characters. I conclude my thesis by arguing that my scripts cannot provide a final interpretation of Helen’s myth because they still lack a certain overarching theme or concept.