The central aim of this study was to explore the meaning of death as both a literal and an imaginative reality, and to elucidate the fundamental tensions between these meanings of death in modern existence. Recognition was given to the need for a poetic rather than a scientific approach to thanatology, and an epistemological foundation for a poetics of death was sought in the tradition of gnosis. Theoretically, the study was grounded in the analytical psychology of C.G. Jung. It was argued that despite Jung's erratic allegiance to a Cartesian ontology and epistemology, his approach to death was nevertheless fundamentally poetic. The poetic parameters of death and dying were explored in the context of Jung's understanding of the dialectical tension between the ego and the self, and it was concluded that while death represents an opening to the imaginative possibilities of existence, these potentialities can come to the fore only when there is a corresponding willingness to die. In these terms, it was concluded that the tension between life and death forms a pivotal dynamic of human existence. These considerations led to the Question of whether the poetic parameters of death and dying are applicable to the encounter with death as a concrete actuality. It was hypothesised that the approach of death would be met at two levels of reality, that of the ego and that of the self. The expectation was that while death would be seen as a literal ending from the perspective of the former, it may represent the fulfilment of Being from the viewpoint of the self. It was also assumed that the tension between these images of death would be mediated by way of archetypal symbols, which represent the bearers of gnosis in modern culture. To address these issues at an empirical level, a hermeneutically grounded thematic analysis of 108 dreams reported by dying persons was undertaken. Twenty initial themes emerged from the data. Each of these themes was in turn elucidated by way of Jung's method of amplification. This exercise yielded five concise themes, these being (a) death, (b) transformation, (c) the self (d) the Feminine, and (e) the Masculine. It was concluded that dreams manifesting during the dying process reveal a fundamental tension between literal and metaphoric possibilities of death. Dream symbols were also found to mediate between this tension, and to orchestrate the individuation process. It was concluded that in the context of dying, dreams may reflect and facilitate the emergence of a meaningful gnosis of death. The clinical implications of these findings were onsidered, and indications for further research were provided.

Orientador: Amneris Angela Maroni / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T03:13:37Z (GMT). No. of bitstreams: 1 Reisdorfer_Ulianov_D.pdf: 1253557 bytes, checksum: c46a228570afff2ae7d613441dd01712 (MD5) Previous issue date: 2009 / Resumo: Esta Tese pretende analisar a psicologia junguiana sob a ótica dos modelos epistemológicos de Bion. É possível identificar na psicologia junguiana o desenvolvimento de pelo menos três modelos epistemológicos análogos aos modelos bionianos: modelo científico, modelo estético-artístico e modelo místico-religioso. A aproximação entre os modelos bionianos e os modelos junguianos pode ser realizada por meio da análise do perspectivismo junguiano e de suas conseqüências em relação a uma abordagem científica de caráter generalizador e nivelador. Na origem da construção de diversos modelos estaria, em ambos, o caráter inacessível e desconhecido do inconsciente, portador de um excesso de sentido que ultrapassaria as diversas formas de abordá-lo / Abstract: This Thesis intends to analyze the junguian psychology under the optics of the Bion's epistemological models. It is possible to identify in the junguian psychology the development of at least three epistemological models similar to the bionian models: scientific model, aesthetic-artistic model and mystic-religious model. The approximation between the bionian models and the junguian models can be accomplished through the analysis of the junguian perspectivism and of their consequences in relation to a scientific approach of generalizing and leveling character. In the origin of the construction of several models it would be, in both, the inaccessible and unknown character of the unconscious, bearer of a meaning excess that would exceed the several forms of approaching it / Doutorado / Doutor em Ciências Sociais

This study examines pedagogical patterns associated with wizard, witch, and fairy archetypes in fantasy literature. The fact that magic exists in fantasy literature as a mysterious and elusive element allows narratives to maintain and validate various means of knowledge acquisition – one archetypal form, such as a wizard, pursues a radically different mode of pedagogical engagement with magic than another archetypal form, such as a fairy. According to Carl Jung, archetypes are anchored by ancient elements of mythological lore, yet continuously shape-shift in the present day. My qualitative research process involved close readings of selected passages in popular works of fantasy literature, selected for analysis based on their salient educational themes as well as a presence of witches, wizards, and fairies. I examine how archetypes in fantasy literature frame various approaches to education, investigating whether these pedagogical multiplicities tend to re-codify magic itself. I investigate how these archetypes acquire, dispel, manipulate, and embody magic with opposing or unique tactics, while considering how each archetype confronts the unknown. I also reflect on the relevant folkloric and mythic dimensions of each archetype, examining the extent in which the magical discourse surrounding each archetype relates to ideas about teaching and learning. Each archetype presents pedagogic nuances, subtle parallels, layers, and metaphorical veins of meaning. How does education in fantasy literature establish broad and vexing challenges to the realities that we are familiar with or conscious of in the everyday contemporary educational field? Are there idiosyncratic pedagogical possibilities (and impossibilities) through archetypal representations in fantasy literature, allowing for multifaceted and meaningful representations of teaching and learning? I find that each archetype’s distinct pedagogical model includes variations as well as overlapping representations of creative agency, amplified possibilities, enhanced notions of growth, radical receptivity, calls for empathy, and visions of transformation. After examining each archetype in consecutive chapters, my conclusion summarizes the prismatic meaning of their pedagogical engagements, while reflecting on the implications and cross-pollination of education and magic. The intersection of praxis and knowledge for each archetype induces a mythopoeic imagination in relation to education, as each reconciles and renews significant transformational elements of pedagogy.

La plupart des philosophes et des penseurs sérieux du XXe ont décrié et décrient encore le bouleversement sans précédent de notre monde d'aujourd'hui. Le laxisme, qu'ont apporté les sciences, la technique et le faux art, menace l'homme dans son statut d'humanité même. Nous sommes devant un terrible constat. C'est la désacralisation générale, le rejet de l'histoire et des mythes fondateurs. De plus, le relativisme des consciences multiplie la vérité par le nombre d'individus qu'il y a sur la terre. Les guerres où l'humain n'est plus ni homme ni bête sont banalisées par les médias qui dans leur surabondance d'images nous habituent à la terreur et à la haine qui déferlent sur notre monde. Tous et surtout la jeunesse seront victimes d'une sclérose du coeur et privés de la joie de vivre si nous n'apprenons pas l'amour, le respect de l'autre et n'entrons pas en communication avec lui. Sans gouvernail et sans éthique, la vie a-t-elle encore un sens? Nous avons questionné religion et art à travers des auteurs reconnus pour découvrir ce qui pourrait redonner un sens à la vie humaine. L'un des remèdes semble être la beauté qui cultive le sens et ouvre la voie à l'être. Le XXIe siècle, paradoxalement, devra compter sur la beauté pour faire sortir le monde du chaos, du morcellement d'un cosmos et du règne du mal qui étend ses tentacules presque partout sur la planète. Nous avons tenté, à l'aide de nos nombreuses lectures, de regarder le rôle que pourraient avoir les arts, c'est-à-dire la beauté, dans un éveil possible des affects de l'homme qui sont parties inhérentes de la nature même de sa conscience et que la rationnalité semble avoir occultés. Pour ce faire, nous avons fait appel surtout à la psychanalyse jungienne, à Michel Henry, Charles Taylor, Paul Ricoeur, etc. et nous avons tenté de présenter - - pour mieux comprendre et analyser le rôle possible des arts dans la recherche de sens - - le livre de Jean Clair, La barbarie ordinaire, alimenté par la théorie de Kandinsky sur la peinture. Nous avons esquissé la différence entre l'art et le kitsch, en nous appuyant sur les complexes autonomes inconscients (archétypes) à qui Jung donne une grande importance, faisant des arts, ni plus ni moins qu'un pont entre nos affects et le monde conscient. Ce n'est pas une beauté quelconque qu'apporte l'art véritable; à nos yeux, il n'y a qu'une seule beauté qui est aussi bonté et vérité. L'artiste, tout au long de ce cheminement, tente de devenir homme. Espoir jamais atteint mais marche assurée d'exprimer la vie, la sienne et celle des autres. Interpellation des autres à la chercher au moyen de l'art. L'art fécond prend sa source dans l'autoaffection pour établir un contact avec les autres car seul l'amour semble être la réponse capable de donner du sens à l'homme. Retour à la reconnaissance de l'histoire et des mythes adaptés à la modernité feraient toute la différence. Pour cela, une éducation et une culture de qualité seront les premiers remèdes au chaos et redonneront à l'homme toute la beauté et la grandeur de son humanité. Car seul l'homme, créature consciente, pourra dire avec Heidegger qu'il «est le berger de l'être».

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: The health of the medical profession hangs in the balance. Scepticism, mistrust and legal restraints have entered its hallowed corridors and are threatening its integrity and independence. There are myriad seemingly intractable moral dilemmas that doctors, ethicists and judges are trying to resolve with the aid of available principles and rules of ethical discourse; yet, the answers remain elusive. Hegel, the eighteenth century philosopher, postulated that perplexity only exists because we do not look at the world correctly: because we tend to think in an oppositional way, we abstract from the complex interrelation of things. He therefore suggested that one should step back and think reflectively about the problem and seek the one-sided assumptions that led to the impasse. My proposition is that at the heart of many of the current medical dilemmas lies the opposition between paternalism and autonomy. These two fundamental concepts arose out of two different traditions, and now, because they have been abstracted from the contexts and histories that inform them, seem to be diametrically opposed. Paternalism arose out of the ethics of competence that originated in ancient Greece. The art of medicine was still in its infancy and physicians had to prove their ability and benevolence to a mistrustful public. Demonstration of competence became a necessary component of any successful practice. As the power of medicine grew with the scientific and technological advances of the Enlightenment, professionals' authority and competence were reinforced and systematically fostered a paternalistic attitude at the expense of adequate protection of the individual. In response to the power differential found in the political and social arena, individual human rights were promulgated in the eighteenth century. In the medical sphere, the culture of rights was translated into, among others, the fundamental right to autonomy. Patients now have the right to decide on interventions and treatment in accordance with their own conception of a good life. Paternalism thus developed out of a societal system that embraced the virtues and communal responsibility within the bounds of the polis of antiquity; autonomy arose out of the designs of the Enlightenment where the individual was hailed supreme. Remnants of both traditions are evident in contemporary medicine, but they have been abstracted from their original purpose and meaning, leading to perplexity and antagonism. Following the Hegelian method of dialectic, I postulate a thesis of paternalism, and in response to this, an antithesis of autonomy. I attempt to show that an intransigent insistence on one side or the other will only serve to strengthen the paradox and fail to lead to an acceptable solution. I aim to develop a synthesis where both concepts are embraced with the help ofa better understanding of human nature and the inevitable limits of human knowledge. Influenced by the work of the psychoanalyst Carl Jung, I firstly argue for the existence of a biological human need for compassion and thus the importance of virtue ethics, which embraces this need. Secondly, focusing on the ethics of futurity developed by Hans Jonas, I delineate the altered nature of human action and the derivative need for an ethics of responsibility. I propose possibilities for the future based on the ideas of compassion, virtue and responsibility and argue that they can only be reconciled in a pluralistic ethic. / AFRIKAANSE OPSOMMING: Die mediese professie het'n dokter nodig. Een wat kan sin maak van die wantroue en vyandigheid wat te bespeur is in die pasient-dokter verhouding en wat toepaslike terapie kan voorskryf Al die pogings tot behandeling deur middel van reëls, regulasies en etiese kodes het tot dusver misluk en het vele skynbaar-onoplosbare morele dilemmas agtergelaat. Die Duitse filosoof, Hegel, het in die agtiende eeu aangevoer dat verwarring onstaan bloot omdat ons die wêreld op die verkeerde wyse beskou: die mens is geneig tot opposisionele denke en neem daarom nie die komplekse onderlinge verbintenisse van die onderskeie elemente in ag nie. Hegel het dus voorgestel dat wanneer ons met sulke hardnekkige situasies gekonfronteer word, ons 'n tree terug neem en die situasie reflektiewelik ondersoek vir eensydige veronderstellings. My hipotese is dat baie van die etiese dilemmas wat op die oomblik in medisyne voorkom, voortvloei uit die opposisie tussen paternalisme en outonomitiet. Hierdie twee fundamentele beginsels het uit twee verskillende tradisies ontstaan en nou, omdat hulle nie meer in hulle oorspronklike konteks voorkom nie, vertoon hulle skynbaar teenstellend. Paternalisme het onstaan vanuit die etiek van bevoegdheid wat teruggevoer kan word na die tyd van Hippocrates. Medisyne was 'n nuwe professie wat nog sy eerbaarheid en welwillendheid aan 'n wantrouige publiek moes bewys. Bevoegdheid was dus 'n essensiële komponent van enige suksesvolle praktyk. Indrukwekkende vooruitgang in die dissiplines van wetenskap en tegnologie sedert die agtiende eeu het dokters se gesag en bevoegdheid bevorder en stelselmatig 'n paternalistiese houding gekweek ten koste van toepaslike beskerming van die individu. In respons tot die magsverskil in die politieke en sosiale sfeer het 'n beweging in hierdie tyd ontstaan om universêle mensseregte te bewerkstellig. In medisyne het hierdie regsbeweging gekulmineer in, onder andere, die fundamentele reg tot self-beskikking - in ander woorde, outonomiteit. Die pasient is dus nou geregtig daarop om selfte besluit oor ingrepe en behandeling op grond van sylhaar konsep van 'n goeie en sinvolle lewe. Paternalisme het dus ontstaan uit 'n samelewing waar die deugte en gemeenskapsverantwoordelikhede integraal was tot die funksionering van die polis; outonomie aan die ander kant, het ontstaan uit die idees van Die Verligting waar die individu as belangriker as die gemeenskap geag is. Volgens die Hegeliaanse dialektiese metode, postuleer ek dus 'n tesis van paternalisme en in respons daartoe, 'n antitese van outonomiteit. Ek voer aan dat 'n eiewillige aandrang op een of die ander die dilemma net sal verdiep. Ek poog dus om 'n sintese te ontwikkel wat albei konsepte inkorporeer met behulp van 'n analise van die aard van die mens en die noodwendige beperkinge van sy kennis. Geskool op die werk van die psigoanalis Carl Jung, bespreek ek die mens se biologiese behoefte aan medelye en stel dus die saak vir die belang van 'n etiek van deugte wat hierdie behoefte onderskraag. Tweedens, beinvloed deur die etiek van die toekoms, soos beskryf deur Hans Jonas, ontwikkel ek die idee van die gewysigde skaal van menslike dade en gevolglik die noodsaklikheid van 'n etiek van verantwoordelikheid. Ek postuleer dus 'n benadering wat wentel om die konsepte van medelye, deug en verantwoordelikheid wat slegs in die vorm van 'n pluralistiese etiek tot uiting kan kom.

No description available.

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.

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.