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I developed my interest in Jungian theory and children's literature when I began investigating literature which embeds the children's book within adult storyworlds. My meta-level analysis of the children's book in the adult cultural imagination evidenced a deep relationship between core Jungian concepts and the construction and consumption of the children's book, which I argue has come to function as an inheritor to myth, legend, folklore and the fairytale in providing a shared lexicon of images by which individuals and communities come to and continue to understand themselves and one another. My research evidences how four core Jungian concepts - that of the complex; the inner or eternal child; the shadow; and the collective unconscious - are illustrated, dramatised, and challenged by cultural depictions of the children's book in adult fiction, thereby demonstrating the deep interconnection between Jung and the children's book. This thesis seeks to reveal and explore the depth of the relationship between Jungian theory and the children's book, which has been overshadowed in both the literary academy and the popular imagination by an undue focus on the monomyth template - or hunting for iterations of the hero's journey - developed by post-Jungian thinkers, and a reductive dilution of Jungian concepts de-contextualised from Jung's own rich, multi-faceted and challenging philosophy and psychology. Frank McLynn asserts in his 1996 biography of C.G. Jung that Jung 'never wrote anything significant on child psychology', and 'always found the subject a bore' (517). A significant gap in the literature evidences an acceptance of this misreading of Jung's work, which this thesis seeks to address. The publication in 2010 of Children's Dreams, notes from Jung's seminars on the subject given between 1936 - 1940, provided me with a methodological as well as conceptual starting point for this project. It is true that Jung did not analyse the dreams of children per se, but his attention to the dreams of children as remembered by them in adulthood speaks to my thesis that the symbolic children's book functions in parallel to the remembered childhood dream: as a nexus of images and ideas of significance to one's self-perception and interaction with others in broader social networks and cultures throughout the life cycle. Children's literature scholarship and childhood studies, too, are in the midst of a deepening engagement with cross-generational networks and the phenomenon of recursive adult engagement with the culture of childhood. Thus this intervention speaks in a timely way both to Jungian communities and to scholars of children's literature and culture. I challenge McLynn's assertions that Jungian theory is of little interest to scholars of children's literature and the culture of childhood, and its inverse: that children's culture offers little foothold for the serious Jungian scholar. My method for analysis draws upon the recent work of Jungian literary theorist Susan Rowland, whose conviction 'that Jungians can aid the study of literature while literary critics can similarly inform Jungian psychology' (2019: 1) offers an alternative to the monotonous monomyth method - or what Terence Dawson terms 'instant Jung' (2008: 290) - responsible for Jung's recent relative elision from the literary academy. Jung is conspicuous for his absence, in particular, from the field of psychoanalytic children's literature scholarship: the 2000s saw the publication of Karen Coats's Lacanian study Looking Glasses and Neverlands (2004), and the 2010s Kenneth Kidd's Freud in Oz (2011), which address Jung's influence in the field only cursorily. Kidd's assertion that 'not a few Jungian analyses of the fairy tale and other genres are vulgar and reductive, missing out on the complexities of Jung's actual discourse' (2011: 11) articulates part of the challenge I aim to meet in this project, in bringing Jung's actual discourse into dialogue with contemporary texts of significance to the study of children's literature. As my analysis will show, the neglect of Jung within the academy of children's literature has not impeded the potential for the relationship between Jungian theory and the children's book to flourish in the hands of artists and authors. The children's book functions, instead, in the adult imagination as a particularly rich site for the dramatisation of the maturation process, and thus as a literalisation of Jung's concept of individuation, or the integration of consciousness and the unconscious in the achievement of psychic selfhood. By contextualising the symbolic children's book within adult culture I interrogate the potential this provides for interaction between real children and the remembered child of the now-adult reader and author. The index of the children's book can be read as a focalising point within the life cycle: a multivalent nexus offering the potential for the reader's self-knowledge to deepen and change while the text remains ostensibly the same. In Jungian teleology, one looks back so as to look forward, and one looks forward so as to better navigate the present. The implications of my work suggest the Jungian lens as one of crucial significance to understanding children's literature: what it has done, what it is doing, and what it might yet go on to do.

This interdisciplinary thesis offers a Jungian investigation of the AMC television series The Walking Dead with a strong focus on the series' gender representation. It examines rebirth and the relationship between ego and self in the lives of the survivors in a post-zombie-apocalypse landscape in order to appraise the series' treatment of gendered norms and find meaning in relationship between the series, the Jungian concept of the self and quantum physics. In so doing, it posits infinity as a metaphor for the self and psyche. Traditionally, studies of zombie narrative have focused strongly on the zombie figure, giving the impression that any rebirth the genre can depict must relate to the resurrection and dehumanisation of the living dead. Moreover, the small number of papers investigating The Walking Dead, though interested in the human survivors, are overwhelmingly cynical in their conclusions about the post-apocalyptic world the series depicts, convinced it is one not only of hopelessness, but, more pertinently, of dreadful sexism and a staunch adherence to patriarchal norms. Recently, a few studies have posited that, actually, this apparently obvious misogyny is not as simple as it seems. Rather, as time goes on, significant, complex change is taking place. This study expands upon these observations, taking advantage of the long-running and survivor-focused nature of the television series to examine an overarching theme of change throughout the series. This thesis shows that, when a deeper analysis of the series over time is conducted, a more positive view of gender in the series is reached. Using a Jungian investigative lens, and continuously marrying its psychological argument with quantum physics, this thesis makes several major and unique claims. First, by exploring the series as an example of archetypal rebirth, it is shown how the narrative to date can be understood as a series of seven rebirth cycles, and that those cycles are even organised around metaphorical phases of pregnancy: conception, gestation, labour and (re)birth. Moreover, it is shown how the first rebirth cycle is a hopeful one characterised by dramatic socio-political change which has a positive effect on gender roles and representation. Second, by exploring the series as a whole system in which the time before and immediately after the apocalypse may be seen as the development of the ego and post-apocalyptic time may be seen as the development of the self, leading to union, it is shown how the event of Lori's death and Judith's birth is a symbolic one which reverses the patriarchal values of the ego time and introduces a new feminine value. This means that the time after her death depicts another rebirth: a shift both to the self from the ego and to feminine dominance from masculine. Moreover, as Judith grows up, she becomes representative of the union of ego and self: a synthesis of old and new in the series, and the hero image is passed from Rick to her. Third, the rebirth imagery created in this investigation shows a clear parallel with both the quantum field and the infinity symbol. Thus, it is also argued that the self is essentially the same thing as the quantum field, with archetypes and waves, and archetypal image manifestations and particles, being comparable pairs, and that both material and psychological reality may be understood using the infinity symbol. Furthermore, this leads to a greater understanding of the self, since both infinity and the quantum field show how the self is a dynamic process that is constantly in motion, and how the self can be both the whole and the parts of that system.

This thesis will examine Jung's concept of the Archetypal Shadow and its role in evil. Most Jungian work on evil has revolved around the Personal Shadow, those elements of the personality that are rejected for personal, familial, or cultural reasons. Those researchers who have dealt with the problem of evil and the Archetypal Self, including Jung himself, have tended to focus on the God image, as a projection of the Self, as dual in nature, possessing good and evil. This has dissatisfied a small group of Jungians, however, as the discussion of the dual God-image is then treated as a critique of orthodox religious theology, especially Christian theology. The most extreme examples of this came out of theological Jungians writing about Jung's fascination with Christian mystics. The German mystic Jacob Boehme is one of the most fascinating examples a complex image of God to discuss the Archetype of the Self. None of these writers have attempted to reach a universal definition of "evil" that could be accepted across a diversity of cultures. I use the latest theoretical research by Robert Moore on the different "Archetypes" of the Archetypal Self, particularly his differentiating of infantile and mature aspects of the King and the Warrior Archetypes. Moore's work on the Archetypal Shadow involves what he calls "infantile grandiosity" which means possession by an individual Archetype in its infantile form. Moore's infantile Archetypes are distinguished from their mature forms in that they are selfish, as opposed to social. Using evolutionary Biology I show that selfishness is the closest to a universal definition of "evil" as is currently possible. These evolutionary theories argue that selfishness is a form of individual natural selection, but when animals (including humans) form into groups, these selfish traits are either punished or sublimated into sociality. Finally, I will show that this is the true way to interpret the God-image of Jacob Boehme.

Sport psychology has historically adopted a positivist and post-positivist conceptualization of science at the expense of systematic engagement with epistemology itself (Whaley & Krane, 2011). In this thesis it will be argued that positivist orthodoxy does not hold a monopoly over the idea of science, and that future theoretical developments within sport psychology will require more systematic engagement with epistemology. In order to explore this proposition, the thesis examines the epistemology developed in C. G. Jung's analytical psychology, an approach which has been generally overlooked within the sport psychology literature. In addition, more recent epistemological developments within psychology are considered with respect to current and future theorising within sport psychology. The thesis is a "desktop study" comprising of 8 chapters. The introduction (chapter 1) outlines how the current crisis within psychological science is epistemological, not methodological, in nature. Chapter 2 identifies key foundational challenges to sport psychology based on positivism; and introduces C. G. Jung's analytical psychology which developed out of the rejection of a positivist conceptualization of science. Chapter 3 introduces aspects of a new epistemological framework (i.e., unconsciousness~consciousness; the psyche as a process) based on the work of Jung and identifies points of convergence between these contributions and more recent theorising. Chapter 4 considers the implications of analytical psychology with respect to momentum in sports. An original theoretical account of psychological momentum is outlined, based on libido theory (Jung, 1960), and the implications are considered with respect to current literature within sport psychology. Chapter 5 considers more recent developments in psychology (i.e., cybernetic systems paradigm, idiographic science) which have important parallels with analytical psychology, and which have important implications for the future of sport psychology as a science. Chapter 6 outlines an original theoretical perspective with respect to our understanding of performance variation in sport (Cowen, Nesti, & Cheetham, 2014), based on epistemological and theoretical developments outlined in the preceding chapters. Chapter 7 considers the implications of the epistemology outlined in the thesis with respect to current and future theorising in sport psychology. The central theme of this chapter is temporality, which, it is argued is necessarily an axiomatic component of future theoretical work, in order to overcome the foundational problems associated with a positivist conceptualisation of science. In the final concluding chapter (Chapter 8) it is proposed that the provisional epistemological criteria outlined in the thesis (i.e., subject~object, conceptual integration, being~becoming, teleology, temporality) offers a basis on which an analytical sport psychology could be developed. With respect to sport psychology, these criteria suggest that future developments should focus more on understanding performance variation itself rather than prioritising the study of psychological constructs, or objectivist representations, associated with performance. It is concluded that the "personal equation" - the creativity, judgement, intuition and/or insight of the researcher - represents an important component of the process of knowledge construction; which in turn necessitates collaboration as a necessary counterpoint to individual subjectivity. Taken together, this thesis suggests that analytical psychology, despite historically sitting outside of psychological science, can make an important contribution to the future of sport psychology as a scientific discipline.

This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.

To date, the scholarly literature has not sufficiently examined the extent to which Shakespeare's plays helped to develop a national operatic tradition within the ideological context of modern Britain. This thesis is a contribution towards rectifying this oversight. Chapter 1 outlines the development of Shakespearian musicology, and emphasises the importance of music analysis to the elucidation of opera. Chapter 2 then presents a series of short analyses of modern British Shakespeare operas, and highlights how several of these works depict issues of gender and sexuality in a remarkably frank and sometimes subversive fashion. Chapter 3 explains this thesis's particular focus on Tippett's The Knot Garden, a psychoanalytic, operatic version of The Tempest from the late 1960s. It posits a number of reasons why both literary scholarship and musicology have overlooked this composer and his Shakespearian work, and explains the pressing requirement for a detailed close reading of Tippett's Tempest opera that simultaneously situates it within broader musical, cultural, and historical narratives. It particularly contends that Tippett's works require further exploration from the perspectives of gender, sexuality, and autobiography, after the fashion of recent scholarship on his friend and contemporary, Britten. The production of such work will allow a more balanced, nuanced, and constellatory understanding of British music from recent decades. Part 2 of the thesis offers a comprehensive, interdisciplinary exploration of The Knot Garden, which combines musical and textual analysis with biographical information, critical theory, literary and theatrical history, and Lacanian and Jungian psychoanalysis. Through a series of character sketches, this case study considers Tippett's interrogations of contemporary gender, sexuality, and psychology. The conclusion questions current ideas of 'British' and 'Shakespearian' opera. It furthermore highlights The Knot Garden's deeply personal nature, its Shakespearian, 'revolutionary universality', its blend of Jungian humanism and Lacanian posthumanism, and the radical, 'hysterical' personality of Flora-Miranda.

The aim of this doctoral thesis is to show how the Jungian process of individuation — the psychological development of a unique individual — is depicted in the fairy tales of the twentieth-century Spanish writer, Carmen Martín Gaite. The three shorter tales — El castillo de las tres murallas, El pastel del diablo and Caperucita en Manhattan — are explored here along with the novel, La reina de las nieves. Individuation, as well as being the means by which an individual person develops, also implies a new way of relating between human beings. Jung described the outcome of individuation as ‘objective cognition’ which, this thesis argues, is equivalent to love and conscious relatedness between persons. Dreams play a crucial role in the individuation process — as they do in the work of Martín Gaite — guiding the dreamer on his/her journey. Dreams facilitate encounters with aspects of the personal and collective unconscious, which appear in symbolic form. The protagonist of the story by Martín Gaite which is closest to a traditional fairy tale (El castillo de las tres murallas) and the novel which takes a traditional tale as its reference point (La reina de las nieves) illustrate the importance of dreams in the development of the protagonists. At the heart of each of the other two tales — El pastel del diablo and Caperucita en Manhattan — is an imagined text which illustrates, in symbolic form, aspects of the individuation process. Connections have been made in Jungian thinking between individuation and the development of Christianity into a third age, the Age of the Holy Spirit, because of the major shift in consciousness (akin to the change which occurred 2000 years ago with the birth of Christ). Alongside the exploration of individuation in the fairy tales, this thesis also considers parallels with the Christian story and indications of its development or renewal.

The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.

While the advent of modern technologies has increased our understanding of the physicality of prehistoric artefacts for instance their place and method of manufacture and has helped to establish more precise chronologies, the actual meanings tend to elude us. It is in this connection that the insights derived from the work of C. G, Jung could help to shed light on the significance of some of these objects and the practices with which they are associated. One worthwhile line of enquiry entails a more personal approach based on some psychological perspectives from the work of C.G. Jung. It was Jung who emphasised that the scientific rationalist perspective of modernity is just another paradigm and by no means the only way of understanding the world. Another of his important insights was to search for meaning in all human behaviour no matter how bizarre or senseless it might appear. As well as being a modern discipline, Jung’s work can I believe be extrapolated back to the past as he himself stated that some of his insights could be usefully applied to past objects and situations (Jung 1986:5).The problems involved in attempting an analysis of meaning from a period from which no literary evidence survives was one rejected as impossible, (Renfrew & Zubrow 2000) but this problem can be redressed by the application of Jung’s collective unconscious a concept concerned with recurrent patterns in human behaviour. In his view, studies based on an isolated individual are inadequate. Moreover, with regard to the Neolithic period where no written records are extant, it is virtually impossible to reconstruct such detailed information at this level. The following quotation underlines the importance Jung attached to this interpretation:-“Therapy stands or falls with the question. “What sort of world does our patient come from and to what sort of world does he have to adapt? The world is a supra-personal fact, which only deals with the personal element in man. Man is also a part of the world, inextricably involved, he carried the world in himself, something at the same time, impersonal and supra-personal (Jung 1946:30).

This thesis offers a new approach to the work of the British filmmaker Shane Meadows. In contradiction to the conventional reading of his work as part of the long tradition of social realism in British cinema, this thesis offers a new approach which argues that the term ‘liminal realism’ best describes both the in-between nature of the texts and Meadows’ place in British screen culture. In order to construct this alternative reading of Shane Meadows, this interdisciplinary study draws upon work from anthropology, folk culture and myth to describe the particular ways in which Meadows’ work demonstrates liminality, most especially via the Jungian archetype of the trickster. The thesis argues that the figure of the trickster describes the cultural construct of the filmmaker himself which can be described as being in-between, whether critically positioned between the mainstream and art-house; between the cultural imaginaries of the British north and the south, residing in the liminal elsewhere of the Midlands; and moving between autographical and biographical registers, arguing how he responds to that positioning with a tricksterish sensibility. Focusing on the ways in which masculinity and class are represented, the thesis explores the centrality of homosociality in Meadows’ work, explaining how it demonstrates a particular dynamic of desire which operates between men. The first chapter identifies the reason existing paradigms for Meadows inadequately describe the particular, liminal quality of both Meadows’ films and the positioning of the filmmaker himself. Chapter Two explores the tradition of social realism in British cinema and how it works as a discourse. It goes on to argue why this conventional paradigm is not adequate as a way of understanding Meadows’ work. Chapter Three demonstrates how the production of the films is liminal, positioned between art-house and commerce, and how a reading of the body of the filmmaker as a text is a productive way to approach the representation of masculinity and class. Chapter Four analyses the film texts using a Jungian archetypal framework to explain the ways in which they are liminal. The study concludes that Meadows can be best understood through the concept of liminal realism, a new paradigm with potentially wider applications for analyses of screen culture.

My work on the thealogy of Mary conveys a largely subjective way of thinking, it does not claim to present the view of any group, and it does not profess a theoretical agenda for a cult or a religious movement of Mary. The framework of this work is grounded in symbolic (legends, fairy tales and images), psychological (the structure of the psyche according to Carl Gustav Jung: the Self, the conscious, the unconscious, the Shadow) and imaginative (individual interpretations of narratives and images) spheres that are combined with feminist spirituality theories, religious philosophy and literary analysis. In my thesis, I offer a non-Christian myth of Mary which I form out of the folklore narratives about Mary. In my work, Mary is understood as the female divine archetype on the collective level, and as an expression of the Self on the individual level. Following Jung’s theory, the archetypes are forms and not contents, that is, an archetype can be comparable to an empty shell, which we fill with our own experience or with narratives that are meaningful to us. I take the image of Mary out of the Roman Catholic context and give it a new mythological narrative. This means to me a possibility not only to acquire a non-Christian myth of Mary but also to develop an individual relationship with the divine in its female personification. On the collective level, the thealogy of Mary creates a spiritual and psychological sphere in which the female divine has a possibility to outweigh the one-sidedness of the past few thousand years of the male predominance in the religious philosophy in the West.

My novel A Watermelon, A Fish and a Bible was published in April 2010 by Quercus in the UK, who have rights to the commonwealth countries. It has also been translated into three other languages and has been very well received in Greece and Cyprus. I believe that my novel and the critical piece make an original contribution to the field. After conducting much research I discovered that the literature concerning Cypriot politics is either nationalistic or deals directly with the divide of the land or its inhabitants. My novel, however, is set during the first eight days of the 1974 Turkish invasion of Cyprus and deals not only with the immediate effect of this invasion on the small town of Kyrenia but also with the consequences of Cypriot nationalism in the lives of the people. In many ways the novel is about the emergence of globalisation as described by Edward Said in Culture and Imperialism. It shows the “remorselessly selfish and narrow interests”1 that lead to both “mass destructiveness,”2 in the form of the invasion in this case, and personal destructiveness, in the form of the failed relationships of the characters in my novel. The first part of my research explores the reactions of the Orthodox Cypriot during British administration in the 1950s and considers reasons for these reactions, examining whether the notion of post-colonialism can be applied to Cyprus. In the second part, I take a psychological approach and consider archetypal patterns in the structure of the 1950s revolt against British administration. Finally, I will explore some post-invasion texts and their relevance to the changing identity politics of the Orthodox Cypriot community and then look at how this exploration influenced my novel. My novel A Watermelon, a Fish and a Bible can be found on Amazon.co.uk

In this thesis I will be offering an analysis of C.G. Jung’s influence on the theoretical framework of the American comparative mythologist Joseph Campbell. My first main argument will be that Campbell underwent what I am calling a ‘Jungian turn’ around 1968: before this date he was vague and sometimes even dismissive about Jung, while after that date he became suddenly highly positive about Jung’s ideas (particularly about his concept of the archetype). My second main argument will be that this shift in attitude towards Jung occurred because Campbell’s interpretation of Jung changed. Before 1968 Campbell thought of Jung’s concept of the archetype as a ‘closed system’: a completely innate psychological structure that isn’t open to ‘imprinting’ by the environment in any way whatsoever. From 1968 onwards, however, he came to think of the archetype as the equivalent of a so-called ‘open innate-releasing mechanism’, which is the ethologist Konrad Lorenz’s term for a psychological structure that, although it has an innate component as well, is nevertheless open to ‘imprinting’ by the environment. As Campbell’s ideas prior to 1968 had been based on this concept, he realised that his own theoretical framework was compatible with Jung’s to a large extent. My final argument will be that the theoretical position which Campbell arrived at in the final phase of his career (which revolves around the concept of the open innate-releasing mechanism, but which has several other specific characteristics) is the same as the interpretation of Jung put forward by the scholar Anthony Stevens. As Stevens’ work is indisputably Jungian in nature, we might therefore draw the conclusion that it is possible to think of Campbell’s work as ‘Jungian’ in nature as well. However, as there are also some important differences between Campbell and Jung, I am arguing instead that we think of Campbell’s work in the final phase of his career as ‘post-Jungian’: this is the scholar Andrew Samuel’s term for a thinker who may not agree with Jung about every single issue, but whose work is still firmly rooted in his core ideas.

This thesis looks at the life and works of Daphne du Maurier in the context of the inter-related ideas of religion, psychology and politics. Throughout, I use a methodology based on the concept of the palimpsest. But I also use theory provided by Jung, Plato and Nietzsche – all of which were known to du Maurier to a greater or lesser degree. Other theory is used occasionally, but only as it suggests itself in the context under consideration. The ideas of ‘Resurrection, Renaissance and Rebirth' give the thesis a structure and a theme. The interaction of Christianity and Paganism is also examined. Section One, ‘Introduction – Resurrecting Texts/Lives', introduces the idea of the palimpsest. In reality, this is a twice-written document frequently containing a Christian text which is written over a Pagan one, with the Pagan text resurrecting itself over time. In theory, the palimpsest is a textual space where disparate texts collide and collude in an involuted manner. Section Two, ‘Life and Text – Renaissance Inspired Men', looks at two men who drew their inspiration from the Renaissance as either age or idea - the socialist Victor Gollancz and the conservative Frank Buchman - and to what degree du Maurier interacted with both the people and their conceptual framework. Section Three, ‘Life into Text – Renaissance Men', concerns itself with du Maurier's biographies of two Renaissance brothers, Anthony and Francis Bacon, and how their lives have been read, gnostically, by herself and others, notably The Francis Bacon Society and Nietzsche. Section Four, ‘Spectralised Lives in Text - Rebirthing', examines how the foregoing discussion plays itself out in two of du Maurier's novels, Jamaica Inn (1936) and The Flight of the Falcon (1965). The chapter on Jamaica Inn looks at Celtic Revivalism and how the Celtic gods spectralise the characters of the novel leading to a rebirthing experience for the protagonist Mary Yellan – implicit in this is the concept of the Renaissance-as-idea. The chapter on The Flight of the Falcon shows how the Renaissance-as-age daimonises characters of the twentieth-century. The palimpsest as either a document or a theoretical perspective weaves itself in and out of all my chapters. Section Five, ‘Concluding Remarks', leads to two related conclusions, firstly that du Maurier has been spectralised by the Renaissance, and secondly that du Maurier's life and works, taken together, can be read as an involuted palimpsest.

Psychopathology has been associated to personality in trait characteristics as a contributing factor to mental illness, but the degree to which personality development as an influence in mental pathologies remains under researched at a phenomenological level. Thus, leaving a significant gap in psychopathological clinical literature on the functional role personality development is associated with psychopathology. In the modern era, the medical symptomology model of mental illness set by the DSM serves as the justification for psychotropic medication prescription as well as the diagnostic criteria for mental pathology but, there is limitations to functional ideals of mental health based off diagnostic criteria for illness and its treatment. However, theories of personality development outside of trait characteristics such as individuation could expand understandings of root causes in mental illness that could reveal new information on how psychopathology forms within the personality and could lead to holistic treatments to mental health and mitigate long term medication use. The aim of this study was to understand the phenomenological experiences of individuation and perceptions of the self in participants who are diagnosed with a mental illness. There was a total of 7 participants in this study and were all diagnosed with a mental illness. The study used a semi-structured interview to assess phenomenological experiences of participants perception of the self and their individuation. Results of the study revealed that all but one participant was on psychotropic medications, all but one participant understood their ideal self as not being mentally ill, and all viewed receiving their diagnosis as beneficial to their sense of identity.

The NPO statement surrounding this doctoral project is that A theological, practical, and community-centered framework for shadow work is disconnected from Christian spiritual formation. This doctoral project is the culmination of a three-fold process: discovering the need for shadow work in the context of spiritual formation, designing multi-faceted virtually-based opportunities to address this need among individuals and groups, and delivering those opportunities via online courses, one-on-one shadow work, and digital content such as essays, articles, and podcasts. My vocational context is my unofficial organization, and MVP, Inner Work Community, which provides these opportunities. Inner Work Community is extended through partnerships with Portland Center, the Companioning Center, and Deep Water Men’s Ministry. My research stems primarily from the work of Carl Jung, his concept of shadow and his broader psychological theory. Shadow refers to the parts of individuals or groups that are hidden, rejected, or denied conscious awareness. Shadow work is any effective process for identifying and integrating one’s hidden self. Mythologist, Joseph Campbell and Christian Jungian psychologist, Murray Stein provide the theological foundations for the project. I designed Inner Work Community to offer various opportunities and mediums for shadow work. I place emphasis on the exploration of Jungian psychology while highlighting how Jungian theory naturally aligns with the Biblical narrative and Christian values of wholeness, loving relationship, and abundant life. Participants in this research engaged courses, individual shadow work, and digital content from a Jungian psychological perspective, and most identified with the Christian faith. Spiritual Formation certainly deals in part with the inner life, but lacks sufficient language and practices for navigating and integrating the dark side of the human experience. This project demonstrates Inner Work Community as a facilitator of exploration and recovery of people’s full humanity and relational vitality by encountering and integrating the hidden self.

The origination and application of a textual analysis of identity, identity formation, and perception of the self and the individual is, as a part of a specific time and space, something that is sociological in nature. The anthropological links between fiction and its sociological aspects highlight symbols of identity and interactions between the self, the other, and the individual. The end goal of this project’s articulated theoretical model is to contribute to readings and analysis of the self and identity in different, othered spaces. This project works towards locating patterns and understanding that make the text and its underlying archetypal and mythological structures work so well with contemporary readers. It is grounded in the serious nature of contemporary storytelling as a part of the self, individual identity, and its place in society and culture. There is no shortage of specific work in literary analysis that relies on aspects of the hero’s journey, the archetypes, and identity. This theoretical model of analysis adapts myth and C.G. Jung to incorporate much of this material into something cohesive and applicable to contemporary genre fiction. Because of this, this project necessitates the introduction of a definition of myth that situates contemporary genre texts as uniquely anthropological artifacts and as items worth analyzing and containing content capable of explicating overarching themes of the individual, the self, and the other in relation to identity formation in opposition. This new and adapted terminology from both myth and Jung assists in reorganizing a vocabulary that allows the analysis to delve into discussions on the creative representation of self, other, gender, sexual identity, the mind and body, transhumanism, and trans(inter)national identity, as well as help highlight how these representations are internalized or externalized by those who read these works of contemporary genre fiction and how these representations and internalizations are essential to the budding cultural mythology of which these characters are playing a big part.

Maud Oakes (1903-1990) was an American painter, anthropologist, and a student of Carl Jung. This thesis offers a close reading of two of her ethnographic texts based on fieldwork conducted in Todos Santos Cuchumat�n, Guatemala between 1945 and 1947. It then considers Maud’s legacy in Todos Santos in light of the extensive ethnographic canon that has developed in the town from the 1940s to the present day. Finally, I turn to her break with anthropology in the 1950s and subsequent research and writing on analytic psychology. Maud’s unique position in mid-twentieth century American culture points to convergences and divergences between intellectual currents that are often analyzed through an artificial disciplinary isolation, thereby obscuring their common ties.

The subject of my research is the 1891 play Salomé, by Oscar Wilde and my thesis addresses the modern psychological implications of the cultural truths revealed by Wilde's re-vision of the myth of that biblical femme fatale. I argue that in fashioning a tragic heroine out of a female monster figure of “Immortal Vice”, Oscar Wilde created a document that captures two contradictory narratives: one in which Salomé plays the heroine of a tragedy and another in which she performs the role and functions of a villain. By employing Carl Jung's psychology of the archetypes, I am enabled to read Wilde’s play as a cultural and psychological phenomenon that (self-consciously) constructs a religious and patriarchal narrative around its central female character, which captures her in a tragedy of socially imposed destruction. Ultimately, this paper poses a psychological assessment of Salomé, in which Jungian archetypes illustrate--at a psychic level--Oscar Wilde’s precocious and liberal-minded modernizations of a two thousand-year old myth.

C.G. Jung emphasized the importance of dreams, developed a method for dream analysis, and created the categorization of “big” and “small” dreams. “Big” dreams, a classification only clear to the dreamer, include spiritual and pivotal dreams, experiences that often influence the direction of the dreamer’s life. While C.G. Jung, Freud, and others may have bridged the modern gap, Native American (NA) cultures have long placed important emphasis and value on dreams and visions. NA traditions and ceremonies concerning dream interpretation vary distinctly from Jung’s ideas but similarly regard dreams as meaningful and worthy of effortful interpretation. “Big” dreams and visions were investigated in this study within an adult NA sample. Participants were recruited via a convenience sample, with the following tribes being represented: Sioux, Southern Cheyenne, Ojibwe, and The Confederated Tribes of Siletz which includes more than 27 tribes and bands. One dream or vision account was collected from each participant (n=8) and the participant’s accounts and responses to questions were analyzed from an ontological perspective. Dream/vision accounts were not interpreted, but instead, the participant’s experience of the dream/vision was inquired about and discussed. The present research was informed by consensual qualitative research and a method called encircling. Careful attention was paid to the validity of this research in an important effort to hear and honor the stories which were shared. The discussion of themes that arose from the interviews included the most recurring themes pulled from participant responses, which were: ancestors, the collective value of dreams, and comfort.

This thesis explores the relationship between non-linear cinema and the psyche through a Jungian lens. Non-linear cinema is argued as distinct from all other linear cinema, and divided taxonomically into various `imperfect' loops as well as `perfect' loops. Perfect loops are such that one cannot distinguish a beginning or end point, so one automatically applies the spatial metaphor of a circle rather than that of a line to the visual experience at hand. Therefore, perfectly looped animation projects the image of a circle into the subconscious, where it cannot be seen but can be experienced as a feeling, contributing greatly to the psychic phenomenon of mesmerization. I believe that the feeling arising from this mesmerization is due to the temporal image of the circle evoking the archetype of the mandala, which creates a sensation of psychic wholeness, related to an inner `god-image', narrowing the focus of the viewer into the present moment. This thesis also details the planning and exhibition of 'Circulation of the Light', a video art gallery designed to address and explore these themes through stop motion, computer, and direct cinema animation.

In order to distill Carl Jung’s psychoanalytical theories on archetypes into a format, which can be better understood and used by dramatic analysts and theatre-makers, I explored the Anima archetype and its representations in two plays, Medea (431 BC) by Euripides and The Great God Brown (1926) by Eugene O’Neill. In this thesis, I first define the Anima in Jung’s terms and explain how we can find it represented in drama. I then analyze the Anima-inspired conflicts in the two plays in a fairly traditional way, but through a Jungian lens. After an analysis of the use of the Anima in these two vastly different plays, I offer suggestions for the use of the Anima archetype among theatre devisers as well as actors and directors. Lastly, I briefly envision the future of this field of study and encourage others to engage in this style of analysis.

This research examines the lived experiences of nine women healers in South-central Indiana in terms of their journeys towards becoming healers. As a phenomenological case study, the goal is to discern the essence of participants' experiences becoming a healer. The study examines interview data using an inductive approach in order to answer the following research question: what is the essence of these specific participants' experiences of becoming a healer? Additionally, the study explores the following sub-questions; 1.) What can be understood about becoming a healer, in a general sense, by interpreting these specific women's experiences and life stories from a phenomenological perspective? 2.) How do participants make meaning of their lived experiences, their chosen path, and their identities as healers? In answering these questions, this study employs feminist, critical, and social theory frameworks.Nine women consented to participate in open-ended, semi-structured interviews and discuss their life histories, current paths as alternative healers, and worldviews. Additionally, one participant-observation and one observation were conducted to supplement interview data and immerse the researcher into the experience of healing and the lives of healers. The results of data collection are organized into four thematic areas that shed light on the nature of participants' experiences of the phenomenon under investigation. The major themes represent aspects of a cyclical, ongoing process or journey towards becoming and being a healer, from these participants' perspectives and experiences. These themes are; 1.) "Awakening," or the importance of inner transformation to facilitating healing work, 2.) "Open-mindedness," or the importance of developing a critical awareness of the self and society at large to the process of becoming a healer, 3.) "Grounding," or the importance of building connections to sustained empowerment as a healer and as a woman in order to reach a state of "Groundedness", and 4.) "Integrity" and maintaining an ethic of care, or the importance of understanding and living by a certain set of ethics that help ensure empowerment on the individual level and a positive conceptual relation to clients and the wider world to developing and maintaining efficacy as a healer. These four themes inform conclusions about the essence of the phenomenon, Empowerment. Detailed analysis of each theme as well as the essence of the phenomenon is provided, and possibilities and implications for further research are considered. Connections are made to human development, adult identity transformation, and women's journeys of empowerment. The study concludes with the researcher's reflections on the process of conducting this project and its implications as a phenomenological analysis.

Focusing largely on the analysis of the representations of feelings and thoughts of literary characters or even the hidden “desires” of their authors, literary criticism for the most part has neglected to discuss the portrayal of the ‘inside’ of literary characters as a construction. Similarly, the critical discussion of texts by psychological theorists such as Sigmund Freud and C.G. Jung attests to an oversight regarding the fact that they had to contend with the exact same challenge their colleagues in literature faced, namely the linguistic construction of a descriptive model for something singularly elusive and essentially non-verbal. The turn of the nineteenth to the twentieth century in particular – just when the schools of Analytical Psychology, Psychoanalysis and Gestalt theory were emerging – proved to be a period in which literature responded to a particularly high popular interest in gaining insight into the supposed ‘inner world’ of literary characters. In pairing literary texts of that period by Richard Beer-Hofmann, Arthur Schnitzler, and Robert Musil with theoretical texts by Jung, Freud, and Robert Musil, this project examines the deployment of symbol, allegory and metaphor as well as the use of “Gestalten” – figures or shapes – in order to simulate the ‘inside.’ The first chapter examines the writings of C.G. Jung and Richard Beer-Hofmann’s novella, Der Tod Georgs (1900), for ways in which their respective construction of the ‘inside’ relies on the trope of symbol. The second chapter does the same in regard to allegory with the writings of Freud, specifically his Bruchstück einer Hysterie-Analyse (1905), and Arthur Schnitzler’s stream-of-consciousness novella, Fräulein Else (1924). The final chapter juxtaposes literary writings with psychological texts by the same author, Robert Musil, and demonstrates that the construction of the ‘inside’ in his novella, Die Vollendung der Liebe (1911), relies heavily on metaphors informed by his great familiarity with key ideas of Gestalt theory. In conclusion, this dissertation argues that the charting of inner human landscapes is essentially a narrative endeavor, in literature as in psychology.

This thesis explores the history of human spirituality and its present ambiguous place in our modern secular world. Accompanying the written thesis is documentation of my creative work by the same title. First I will describe spirituality as a fundamental aspect of the human animal as promoted by R. Joseph. I will follow human spirituality through the culture of organized religion and summon Nietzsche's The Gay Science to discuss shame, sexuality, and religion, moving on to The Birth of Tragedy to discuss the problem of spirituality in modernity. Next I will discuss power through the language of morality. An analysis of the golden rule will break down the language of love, self, and other. I will address morality as a method of manipulating power, and the delusions of idealism. I will discuss science as mythology that parades as detached logic. Concluding, I will suggest the importance of mythology to human spirituality and where modern people search for it in society. Finally, I will express my intentions with my installation, The Adytum. I will describe the ways in which art and entertainment spaces are a modern sanctuary for spiritual introspection. I will discuss the roles of artists as they pertain to Nietzsche's three cultures and how Western culture enforces the role of artists as social change catalysts. I suggest how Westerners are encouraged to regard art and myth at a lower value with relation to science and the idealistic arrogance that occurs when society favors objective scientific understanding at the cost of losing all value in subjective experiential understanding. Ultimately I suggest the need for balancing our methods of understanding to maintain human spirituality.

The purpose of this study was to establish whether a connection exists between Myers-Briggs personality type and friendship. Participants completed the Jung Typology Test to identify personality type as well as a survey regarding their friendship. Social penetration theory and Myers-Briggs personality theory were used as a framework for this study. All participants were from a private east coast university with ages ranging from 18-28 years. Completed surveys resulted in 32 pairs of self-identified close friends. The author analyzed the results to identify any patterns that emerged between personality and perceived intimacy and comfort level of self-disclosure within friendship. Results showed a connection between Myers-Briggs personality similarity and greater perceived intimacy for friendship, as well as increased comfort level of self-disclosure; however, the length of friendship was also an important factor in relation to perceived intimacy. The extraversion/introversion function of personality was specifically shown to be an important factor in perceived intimacy and comfort level of self-disclosure.

This work will show that through the process of currere, practiced through autophotography, teachers will have the opportunity to create classrooms that promote Carl Jung's archetypal journey of the soul which in turn institutes a form of social justice teaching and learning for their students. Within this work, I engage in a conversation regarding curriculum as an autophotographic journey of the soul. Autophotography is the artistic process by which a person photographs both the people and places that are actual or metaphoric examples of his or her life. With the unveiling of one's true reality, especially in the case of the photographic image, autophotography encourages one to change and morph towards a greater consciousness of the world around him/her. This greater consciousness is led by the work and journey of the archetypes of the collective unconscious. According to my interpretation, the goal of the soul's journey and transformation can be accomplished through an autophotographical social justice curriculum from which positive societal change can occur.

Haruki Murakami’s novels are characterized by a struggle between the conscious and unconscious regions of the mind, with his protagonists maneuvering between the two worlds and seeking a way to bridge the gap. Haunted by memories, dreams, and visions, they must determine the correct route to understanding their hidden, unknown selves. The protagonists move in a gradual progression from the physical, conscious world (marked by a perplexing mystery) to that of the unconscious (the source of their sense of loss and desire) – and then back again, to the real world. The novels end with a temporary sense of reconciliation between these realms.The “Jungian stranger” is a nebulous figure that resides within the subconscious mind of the Murakami protagonist. Based on Jung’s observation that “within each one of us there is another whom we do not know” (Psychological Reflections 67), the stranger draws the protagonist more deeply into the novel’s mystery so that he can gain the knowledge and ability he needs to overcome his real-life problems. Whether the stranger initiates the quest via the perplexing identity of an odd-looking sheep, the unexpected gift of an apparent unicorn skull, or the futile search for a missing cat, the seemingly innocuous and ordinary are often Murakami’s portal into something deeper, darker, and more dangerous – yet potentially transcendental.This paper analyzes the Murakami protagonist’s psychological journey towards the Jungian stranger in the novels A Wild Sheep Chase, Hard-Boiled Wonderland and the End of the World, and The Wind-Up Bird Chronicle. He begins as a detached, bemused observer, unable to initiate any passionate involvement with his world. His attitude changes as various characters force or lure him towards a mysterious goal, one that is somehow linked to his vague sense of disquiet. His dilemma is caused by the rift between his conscious and subconscious selves; the only way to resolve his situation is to link them together. This Jungian process is accomplished as the protagonist, guided by other characters, moves through four psychological stages (awareness, encouragement, identification, and fulfillment) in which he sheds his passivity, confronts the Jungian stranger, and acquires self-knowledge.

La problématique de fond de la thèse vise à déduire du système jungien un élément que le psychologue zurichois avait suggéré, sans toutefois le développer. Au sein de son œuvre, C.G. Jung mentionne que la théologie mystique – courant chrétien ayant pour père Denys le pseudo-Aréopagite et traitant de l'expérience d'union à Dieu – est une source essentielle aux renouvellements religieux modernes. Toutefois, Jung ne décrit pas ce que serait une telle mystique dans sa forme moderne, démonstration à laquelle s'attache essentiellement la thèse. Du point de vue de l'interprétation psychologique jungienne, l'expérience mystique suit toujours le processus de détachement qui est le résultat d'un retrait de la projection de la Libido-Dieu dans le monde extérieur. L'expérience d'union se trouve donc être conçue comme un retour de la conscience à la source de l'énergie psychique et qui ainsi vient se fondre dans l'inconscient. Jung interprète aussi l'idée de la déification de l'âme eckhartienne comme un retour de cette même Libido-Dieu dans l'âme en tant que naissance du symbole de l'image de Dieu. Par la naissance de ce symbole, l'âme de l'homme semble ainsi se déifier. Dans le même sens, selon Jung, au sein de la mystique moderne, il ne doit plus s'agir uniquement d'une union à Dieu par l'inconnaissance divine (Denys le pseudo-Aréopagite) ou par l'anéantissement de l'âme (Eckhart), mais plutôt d'une union par laquelle, et grâce au processus d'individuation, l'image de Dieu poursuit sa naissance dans l'âme jusque dans la conscience singulière d'hommes et de femmes. Cette mystique moderne se circonscrit à l'aide de quatre caractéristiques. La première caractéristique de la mystique moderne selon Jung nous permet de la rattacher au courant de la théologie mystique. Tout comme cette dernière est une ascèse du vide intérieur, la mystique moderne procède par le dépouillement des images. Toutefois, ce processus de détachement de la mystique moderne se distingue par l'aspect propre à son approche, qui doit se traduire par un retour à la nature et par l'aspect propre à son mode de délivrance, qui doit incarner un équilibre entre l'intervention de la grâce divine et l'autodélivrance. Les trois dernières caractéristiques de la mystique moderne sont corollaires du principe jungien du Deus et homo. Ainsi, la deuxième caractéristique concerne l'individuation et montre que le mystique moderne doit dorénavant réaliser dans sa vie vécue l'équilibre entre les parts humaine et divine. La troisième caractéristique concerne les mondes intérieur et extérieur et montre que le mystique moderne doit faire naître l'image de Dieu dans les aspérités de son existence terrestre tout en foulant cette voie en accomplissant la volonté divine. La quatrième caractéristique montre que l'expérience d'unité à Dieu de la mystique moderne est un vécu de l'unité de « Dieu » en tant qu'énergie commune des mondes intérieur et extérieur. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Jung, Eckhart, mystique, modernité, individuation.

The purpose of this study is to determine the job satisfaction levels and communication preferences of North Carolina Cooperative Extension faculty. In addition, this study examines the relationships between these two factors and five selected demographic variables (gender, race, age, tenure and job title). The data for the study were obtained by surveying, over the NCCE Intranet, 756 faculty members of North Carolina Cooperative Extension. The Intranet proved to be a useful medium to conduct the questionnaire, providing a 74% return rate. Four research objectives guide the study. The objectives are: a) to determine, describe and compare certain demographic characteristics of North Carolina Cooperative Extension faculty; b) to determine, describe and compare the language preferences of North Carolina Cooperative Extension faculty; c) to determine, describe and compare the job satisfaction levels of North Carolina Cooperative Extension faculty; d) and to describe the differences between communication type, job satisfaction and certain demographics for North Carolina Cooperative Extension faculty. Among the respondents, there were more males than females and a majority of the faculty was white. A large percentage of the respondents were over 41 years old and had less than 10 years of tenure with NCCE. The data analysis reveals that a the majority of the respondents prefer the Sensing language, followed by the Thinking, then the Intuitive language. The least represented language preference is Feeling for all respondents. When compared to norm groups the data indicate that North Carolina Cooperative Extension faculty are satisfied with their jobs. However, Area and 4-H Agents are the lowest satisfied faculty members for NCCE. Family and Consumer Science Agents and District Directors have the highest job satisfaction levels. Significant (p< .05) differences in general job satisfaction means are found with several job titles and tenure groups. No significant job satisfaction differences are found for gender, race, age and language preference groups.

A Mother and Son Khilim records some of the images and myths from 22000 BCE to the present which locate the Oedipus myth in a history that makes sense of my emotional and intellectual responses to it. This chapter includes summarises of the story and its forbears which the reader will need to hold in mind through the later chapters of the thesis. A Sampler - Hypotheses, Questions, Themes introduces the main arguments as well as a summary of my conclusions from the inquiry, and some poetry and other writing which is intended to establish an atmosphere for the work. Oedipal Kings: Abandoned Boys and the Patriarchal Pattern provides an analysis of Sophocles' King Oedipus in support of my hypothesis that he is the mythic father of patriachal social structures and, therefore, that his life story might be viewed as a template for the formation of new patriachs. The chapter also includes a study of some contemporary eminent men in which I focus on the way early experiences of abandonment typically affect their adult behaviours. Silent Women presents Queen Jocasta as archetypal disempowered mother/ wife along with four contemporary women. The true self of each of the contemporary women was mute for many years as a result of negative or absent paternal experiences during adolescence. The Social Ecology of Mythic Thebes: A Study of Fate and Destiny in Patriarchal Culture extrapolates Jung's ideas about causality and teleology in individuals to the cultural setting of Oedipus's city state. The chapter concludes by contrasting the continuing disaster in Thebes with Oedipus's achievement of individuation. Resounding the silence is the title of the cycle of songs I wrote. This section includes the lyrics of all the songs.

Philosophy is the quest for wisdom and hence it may share a common end with religion. Not all philosophies are, however, concerned with this end, nor, again are all religions involved with a quest for wisdom. There may be different techniques and tools employed in the accomplishment of wisdom, but this dissertation is concerned only with the study of the nature and use of reason. In the philosophy of Plato reason is employed in diverse fields including mathematics, myths, and elaborate analogies, but when he turns to reason itself, then it becomes important to this analysis. Reason may be utilized in other systems of thought, say in Aristotelian, but when it is functioning as the sole or paramount vehicle to the Good--then it is the subject for this paper and its contents will be examined. In the works of Plato, the use of reason in this sense is termed dialectic. The terms "philosophy" and "dialectic" are, of course, derived from the Greek. It is equally clear that a radical change has occurred in the meanings of these terms from the original formulation in the Hellenic Age to the present day. The primary and original meanings of these terms have been nearly eclipsed by modern usages and there is a confusion as to the basic meanings and content of these terms. This problem is further complicated by the tacit agreement that whatever is modern, or of late origin, must be better than what preceded it. Hence there is today a general reluctance to examine basic origins and classic sources. Contrary to this belief is the concept that every real advance is a result of returning to the basic origins and sources and redefining problems from this perspective. This work will base itself on the latter concept. The final object will be to re-examine the grounds and the extent to which philosophy can be termed dialectical. It is a request to reconsider philosophy in the terms of dialectic. A return to origins, in this case, is a return to the Greeks and the terms philosophy and dialectic will be defined with reference to the classic philosopher and dialectician - Plato. The Platonic concept of dialectic is to be utilized as a standard and basis of judging other systems that have been termed dialectical. Further, the work intends to reply to the criticism that philosophy, including philosophy as dialectic, has been superseded by religion since religion rather than philosophy can better insure the object of philosophy-- wisdom. Such a rejection of philosophy and dialectic must of course presuppose a familiarity with the process of the Platonic dialectic as well as its scope. Thus, a rejection, to be considered, must demonstrate a knowledge of Plato and an understanding of the dialectic. A decline of philosophy and dialectic based upon a valid criticism would be justified. On the other hand, it is important to discern the mechanism implicit in a denial of philosophy, as well as dialectic, in order to discern the consequences that follow from such a denial. Different systems of thought have been termed dialectic and those chosen for analysis will be examined to determine whether they advance the concept of dialectic as defined in the thesis, and if they do not, to see if it is possible to assign a cause. The deficiencies and inadequacies of the Platonic concept of philosophy as dialectic will also be shown and an attempt to correct this will be made by recourse to other traditions of thought. In the succeeding chapters, the analysis will include Augustine, Vico, Kant, Hegel, and Jung, as well as Gaudapada, Sankara, Nagarjuna, Confucius, and Lao Tzu. These authors have been chosen because of their use of dialectic and/or because they can contribute to the concept of dialectic as a philosophy as noted in this thesis. There is no intention to review or appraise any part of their work, except as regards their use of dialectic in selected instances. The philosophers are chosen to support and to illustrate the thesis of this dissertation. Therefore the task will be to define dialectic within the philosophy of Plato, to account for its decline or rejection, analyze some private definitions of dialectic, and to correct any shortcomings or inadequacies of dialectic.