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The Journal of Analytical Psychology Index for Volume 69, 2024, provides a comprehensive list of articles, interviews, obituaries, clinical commentaries, film and culture reviews, book reviews, and journal reviews published throughout the year. The index includes a diverse range of topics such as American patriarchy, state terrorism, compulsion, gender expansiveness, and the human/More-Than-Human relationship. The journal aims to explore various aspects of analytical psychology and its applications in contemporary society, offering insights into the field from multiple perspectives and voices. [Extracted from the article]

This paper discusses Machiavelli and Cesare Borgia's enduring and always vivid association in the collective unconscious as illustrated by easily made photomontages found in the press and on internet. A first photomontage associates Machiavelli's body as depicted in Santi di Tito's portrait ( 1564) with the head of contemporary statesmen (D. Cameron, B. Obama, E. Macron, M. Renzi…) or stateswomen (T. May, A. Merkel). A second photomontage offers a double portrait of the prince and his counselor. My point is to show that men and women stand in for Cesare Borgia as heirs of the would-be paradigmatic Prince while Machiavelli embodies the essence of politics. This paper aims to connect contemporary and popular Machiavellianism to sixteenth anti-Machiavellianism. The intent is to understand which features and circumstances favor the graft between Borgia, Machiavelli and this or that Prince or Princess. [ABSTRACT FROM AUTHOR]

Ovid’s Metamorphoses has long served as a window into Greco-Roman culture and mythology. However, the ways in which the Metamorphoses may be shaped by, and in turn shape, the interactions between myths and cultures beyond the Greco-Roman world are underexplored. The Ramayan, a seminal South Asian mythological text, has received less attention in scholarship in the Global North, in part due to the overwhelming focus on the Greco-Roman canon. This article highlights stark narrative parallels between the abduction of Proserpina in the Metamorphoses and the abduction of Sita in the Ramayan. Given that these texts are genetically and geographically distinct, tracing the origin of these parallels remains challenging. Here, I leverage a Jungian analytical framework to propose that “narrative archetypes”—collections of images stored in the collective unconscious which manifest in myths across cultures—may explain why episodic details are conserved between the Metamorphoses and the Ramayan. [ABSTRACT FROM AUTHOR]

This ethnographic paper explores attitudes and perceptions of Palestinian citizens of Israel (PCI) regarding Palestinians from the West Bank (PWB). It focuses on the semantic complex of ḍaffāwi ('who comes from the West Bank'), which entails a combination of cultural superiority, distrust, romanticizing, and ambivalence. Treating the ḍaffāwi as a speech act and reading it as a cultural text that is rooted in PCI's collective political unconscious, we argue that their mixed attitudes of superiority and idealization with regard to WBP, and by implication their self-Orientalism, reflect a deep sense of deadlock that characterizes their identity work, as indigenous citizens of an ethnocratic state that has been colonizing their people. [ABSTRACT FROM AUTHOR]

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Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The aim of this essay is to develop an original interpretative hypothesis concerning problematic aspects of Georege Herbert Mead's social theory of the Self in the light of Carl Gustav Jung's analytical psychology. First of all, we will try to unveil a link between the Meadian component of the Self defined I and the dimension of the unconscious. Discussion of this connection will open to the hypothesis that the Meadian I can be understood as both an instinctive, unconscious and non‐pre‐social component of the Self. We will support this interpretative hypothesis by establishing a dialogue with two of the central concepts of Jung's analytical psychology, namely, the collective unconscious and the archetype. As we shall see, the main point of contact between the two theories lies in the identification of a common non‐pre‐social declination of the instinctive and unconscious assumptions of the conscious Self. More narrowly, we will try to explore this hypothesis by arguing for an interpretative affinity between the Jungian archetype and the Meadian social nature of instincts. Along these lines, we will propose a functionalist approach to the interpretation of the instinctive dimension of archetypes, according to which archetypes function instinctively. Our hypothesis of convergence between Mead and Jung with regard to the social nature of instincts and the archetype will lead us to sketch a peculiar and innovative social conception of the unconscious. [ABSTRACT FROM AUTHOR]

This document is a bibliography of books received by the Journal of Analytical Psychology. The books cover a range of topics related to analytical psychology and psychoanalysis. Some of the topics explored include trauma, civilization and its fate, psychosis and spirit possession, Jung's relationship with Christianity, human dignity, the evolution of consciousness, the animus, the archetype of home, and the writings of Etty Hillesum. The books offer different theoretical perspectives and provide clinical examples and lessons from the authors' experiences. [Extracted from the article]

This article, titled "Case Response II," explores the story of Alice, a woman who has experienced childhood trauma and its effects on her relationships and psyche. The author reflects on their emotional response to Alice's story and the collective bias and discrimination against the feminine that continues to affect women and girls. The article discusses the concept of dissociation as a defense mechanism and the importance of the therapeutic relationship in helping individuals heal from trauma. The author also draws parallels between Alice's story and the film "Women Talking," which further illuminates the reality of trauma and allows Alice to confront her own experiences. Overall, the article emphasizes the significance of acknowledging and addressing trauma in order to foster healing and growth. [Extracted from the article]

Terrorism and counterterrorism are often described as "ironic", but conceptual engagement with irony has been very limited. Building on the lifework of cultural anthropologist Joseba Zulaika, this article considers irony as an analytical meta-perspective in the critical study of (counter)terrorism. It draws on the life and work of German-American Christian ethicist Reinhold Niebuhr (1892–1971) to argue that the ironies of (counter)terrorism under U.S. president Barack Obama, who admired Niebuhr, point to an unconscious failure of collective self-understanding. Dissolving these ironies requires new narratives of American identity that cut across foreign and domestic politics, state and non-state actors, the "war on terror" and white supremacy in a long view of history. Facilitating this multidirectional process of self-reflection and -transcendence is a key task for critical scholars of (counter)terrorism. [ABSTRACT FROM AUTHOR]

Copyright of South Architecture / Nanfang Jianzhu is the property of South Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jason Wright's book, "Blake's Job: Adventures in Becoming," explores the author's personal journey from a career in theater to becoming a psychotherapist, inspired by the works of C.G. Jung and William Blake. The book focuses on Blake's "Illustrations of the Book of Job," which depict the struggle between Human Imagination and an inner accusatory voice. Wright connects Blake's visionary insights to contemporary thinkers and explores themes of exploitation, communal resonance, and the need for a fundamental change in perception. The book includes clinical vignettes, poems, and narratives to illustrate the relevance of Job's journey in therapeutic practice and human development. [Extracted from the article]

“The Tale of King Numan and His Sons” is one of the captivating and multi-layered stories from the One Thousand and One Nights collection. On its surface layer, the tale portrays the historical theme of war between Muslims and Christians. Zat al-Dawahi, the main female character, disguised as a male religious figure, conceals her gender and religion, deceiving the Muslim army. Socially, the story primarily focuses on her feminine cunning, ultimately leading to her comeuppance. However, on a deeper layer, when viewed through an archetypal lens, the tale reflects the societal lack of anima (the feminine element) and illustrates the collective conscious and unconscious fragmentation, confirming this theme through the rule of two kings over one realm at the tale’s end. The descriptive-analytical research method based on library sources has been employed. Archetypally, Zat al-Dawahi is a negative “anima (exemplary mother)” who, at times throughout the story, dons a “veil” and vividly illustrates the societal shadows. Albeit, with a slight change in perspective on the roles and positions of characters, she can also be considered a “trickster hero”. Zat al-Dawahi represents the women of her society: those whose feminine traits (love) have been disregarded in a patriarchal system and marginalized. Consequently, her masculine element (animus) is activated, and due to her animosity, she manifests herself as vengeful, fearless, ruthless, and cunning. [ABSTRACT FROM AUTHOR]

Taking my trip to a maternity ward to visit my newborn niece as a "clinical case," I visit the phenomenon of digitally surveilling neonates with the self-same devices that were designed to enforce the house-arrest of would-be felons whose noisy place in the cultural imaginary has rendered the neonate's ankle a transgenerational "risk object" in the unconscious collective. In conversation with the ever-emergent genre known as autotheory, I invite the reader to be an accomplice as I "dramatize my unsettlement" contrasting autotheory with Laplanchean "self-theorization" via interludes about temporality, expertise, birth, gender, race, and place that come to life in the tale of The Stork. [ABSTRACT FROM AUTHOR]

The alteration of consciousness during shamanic rituals is both a physical and mystical phenomenon. It involves psychological and spiritual experiences. Through ritual practices, shamans can connect with archetype within the collective unconscious, utilizing trance-inducing techniques for "hallucinatory exploration". This study surveyed 75 participants to investigate the impact of prototype symbols in Shamanistic rituals on participants' consciousness states focusing on Jungian psychology's concept of archetype. The results indicate that archetype symbols in shamanic rituals can significantly influence participants' conscious state, leading them to experience a conscious dissolution of the self. Furthermore, archetype symbols have different effects at the stages of consciousness change. In particular, during the "Visionary Restructuralization" stage, archetype symbols, such as patterns, masks, totems and music, brought participants' consciousness to a peak and caused significant changes to it. These findings suggest that the metaphoric function of archetype symbols plays a crucial role in rituals. Archetype symbols connect the individual to the collective unconscious through visual images and symbolic imagery. They prompt the participants to experience emotional resonances that transcend individual experiences and affect their state of consciousness. [ABSTRACT FROM AUTHOR]

Since the early 20th century, cinema has become a means of depicting the mind for psychoanalysis, providing a platform to discuss mental phenomena. Over time, both disciplines have enriched each other, becoming significant tools for perceiving and understanding the world. One such analytical method is Carl Gustav Jung's analytical psychology, which revolves around the archetypal theory as a central tenet. Jung's analytical psychology focuses on archetypal patterns and the dynamics of the unconscious. He founded his theoretical framework on the intent to heal humanity, relying on archetypal forces in his proposed methods. Archetypal behaviors are activated through thought processes or the assimilation of experiences. Moments of transformation, such as the development of the Self or shifts due to age and experience, involve archetypal processes. Within the archetypes, which serve as crucial references in an individual's long and arduous journey toward self-realization, the "shadow," according to Jung, is a primary element that individuals must first encounter, confront, and integrate. Jung argues that there is a parallel relationship between the shadow and the Ego, asserting that strengthening the Ego occurs as the shadow becomes conscious. As a significant component of the collective unconscious, the shadow archetype plays a vital role in an individual's self-realization. Recognizing and accepting the shadow archetype is a critical stage in achieving psychological balance and individuation. Jung discusses two distinct types of shadow archetypes: the "personal shadow" and the "collective shadow." This paper analyzes the main character, Yalın Eşref, from the 2023 film Boğa Boğa directed by Onur Saylak, using the archetype theory within a Jungian framework, specifically focusing on the personal shadow archetype. Furthermore, Yalın's psyche and individuation process are explored through the lens of the shadow archetype within this psychoanalytic context. [ABSTRACT FROM AUTHOR]

In 1958 Japanese Zen master and professor of philosophy Shin'ichi Hisamatsu and C. G. Jung held a historic meeting at Jung's home in Küsnacht, Switzerland. Hisamatsu was touring the world and meeting with leading figures in the disciplines of psychology and philosophy, not unlike the traditional practice of accomplished Zen masters taking extended pilgrimages to test, deepen, and refine their enlightenment experiences. This meeting has received scant professional attention at least in part because Jung asked that it not be formally published. Nonetheless, Hisamatsu did publish their dialogue in Japanese and, thereafter, several translations followed. Commenting on their dialogue many months afterward, Hisamatsu summarized the meeting by highlighting three central areas of interface between Zen Buddhism and analytical psychology: 1) The relationship between "No Mind" in Zen and the unconscious; 2) The similarities and differences in what is meant by the "Self/self" in both disciplines; and 3) The means of identifying and seeking to relieve human suffering. This paper looks more closely at these junctures by briefly highlighting their theoretical implications and, in doing so, seeks to further the dialogue between Zen Buddhism and analytical psychology. [ABSTRACT FROM AUTHOR]

Fictional representations of African university campuses offer a rather dismal image of a world intended to train the intellectual elite of a rapidly developing continent. This is reflected in a statement from the Cameroonian scholar Jean-Marie Wounfa, who asserted: "Writers, for a long time, have put forward a discourse on the university that praises and preserves the mythical character of this institution of which the representation is abundantly watered at the spring of the collective unconscious." But such a position fails to win unanimous support. Some consider the university to be a depraved institution. While such discourse may find a fertile ground in the novel, it becomes an interesting scriptural paradigm when the analytical medium shifts to the short story, a brief but dense literary genre inspired by reality. Such an image of the Cameroonian university campus can be seen in La révolte de Mbazoua (Mbazoua's Rebellion) by Moone Nda'a, which describes the campus as a Kafkaesque world haunted by intimidation, rape, threatening behaviour, sectarianism and other ills that students and teachers must suffer. It also highlights the role of the imaginary in the struggle against this form of censorship that shackles the harmonious development of the African university campus. [ABSTRACT FROM AUTHOR]

The Journal of Analytical Psychology's latest issue features a variety of papers with academic and clinical relevance, as well as an interview with Warren Colman, a previous editor and regular contributor to the Journal. The papers cover topics such as the personal and transpersonal psyche, anima projection, embodied metaphors, and power dynamics in Jungian theory and practice. Additionally, the issue includes reviews of books and journal articles, as well as an announcement of the winner of the Michael Fordham Prize. The Journal also invites submissions from authors and plans to hold workshops on different topics. [Extracted from the article]

For a significant part of its history, archetype theory has been undermined by criticisms containing unexamined Cartesian assumptions. Such assumptions treat all cognition as disembodied, consisting of mere manipulation of abstract, inherently meaningless signs mimicked from verbal instruction or cultural learning. Since the 1980s, due to the results of many independent disciplines, however, this view is being replaced with one of embodied cognition. This shift has important consequences for archetype theory, allowing us to provide a non‐reductive biological anchor that explains many characteristics of the archetypal image. [ABSTRACT FROM AUTHOR]

The Supreme Deity Talismans of XuHuo, as the mysterious visual artforms in Daoism, are significant ritual images created by Daoists during the Song and Yuan dynasties. This article explores the creation process of the SDTXH by applying psychoanalytic theory to analyze the literature related to their drawings in Daozang. The ritualistic concentration involved in writing the SDTXH resembles Jung's systematic exercises aimed at eliminating critical attention, thus creating a vacuum in conscious. This vacuum serves as the key premise for active imagination, through which the unconscious is integrated into the conscious. Fuqiao, in fact, is a symbol dynamically depicting the process of the unconscious being inseminated by the conscious through immersion within it. This integration, or unity, represents the embodiment of concepts such as "mandala", Guizhong, and Taiji. The SDTXH originate from Guizhong and essentially serve as archetypal images, similar to the sandplay images constructed by the clients. As the language of the unconscious, the SDTXH effectively bridge the conscious and unconscious, enabling the unconscious content, namely the archetype, to be symbolically expressed and bringing order to the creator through active imagination. The emergence of the SDTXH signifies the practitioner's progress towards achieving psychic wholeness. [ABSTRACT FROM AUTHOR]

The relationship between literary texts and psychoanalysis was proposed in the 20th century with the help of Freud's theories, and after him, Carl Gustav Jung played a prominent role in this field and wrote important works about the reflection of people's emotions and thoughts in his creations. According to Jung, human thoughts are partly derived from daily desires and are largely influenced by the collective unconscious and old images (archetypes), and in general, humans are controlled by their unconscious throughout their lives. In this article, the epopee Bahram and Golandam by Aminuddin Safi (the poet of the 9th century) has been analyzed using the descriptive-analytical method and from Jung's psychoanalytic point of view in order to determine the level of collective unconsciousness and its elements in it. According to the obtained results, this folk tale is consistent with the archetype of Jung's individuation and shows the path of character development towards evolution; hence, in this poem, Keshvarshah is a code of humans and Bahram represents his archetype, who goes through the difficult stages of confronting the shadow to connect with the anima, and finally, his connection with Golandam completes the cycle of character transformation. Also, in this system, two archetypes of the shadow and the old man play a more prominent role: the archetype of the shadow due to the persistence and great effort of the king to develop the character, and the archetype of the old man due to his enthusiasm and confusion.Keywords: Jung, Archetype, Collective Unconscious, Aminuddin Safi, Bahram and Golandam. IntroductionAccording to Jung, the human psyche has three parts, which include the conscious mind (I or ego), the personal unconscious, and the collective unconscious. Jung defined the personal unconscious as a special area adjacent to the ego. He feels that a person's unconscious consists of ideas and emotions that existed as consciousness at one time; but now they are suppressed, forgotten, or for some reason purposefully ignored or forced out.The collective unconscious is the main part of the psyche and is much deeper and wider than the conscious part. This part of the psyche contains ancient images that are almost the same among all human beings and are reflected in dreams and other unconscious activities. Literature ReviewAccording to Jung, due to having a common mental structure, people face similar problems in different periods, and the key to solving these problems should be found with the help of collective and ancient psychological experiences. He called these old experiences archetypes and this term is the most important topic in his psychoanalysis.The contents of the collective unconscious are not acquired, but inherited, and thus are the same across cultures. This unconsciousness consists of two main aspects, i.e. archetypes and instincts (such as sexual instinct, violence, etc.). Archetypes are a reservoir and storehouse of experiences that have been constantly repeated throughout human history. These patterns always exist for every human being from birth and they have chosen a home in the deepest part of their unconscious. Every human being can face them internally through dreams and imaginations and externally through myths and religious teachings (Snowden, 2013: 121).Archetypal images or archetypes show different aspects of the mental apparatus and each one is revealed with the help of some symbols. Jung introduced some of their most important forms as follows: self, shadow, anima and animus, old man, mother, hero, mask, etc. In this article, our intention is to show the growth path of Keshvarshah's personality in the epopee of Bahram and Golandam. MethodologyThe book Bahram and Golandam is about the love of Bahram, the prince of Rome, to Golandam, the daughter of the Khaqan of China, and by reflecting on the structure of the story, its symbolic depth is determined. In fact, in this poem, the poet has symbolically told the story of the evolution and integration of the character with the help of a folk tale, and each of the elements of the story, such as characters, phenomena, and various creatures, are a symbol of a part of the unconscious mind, and Prince Bahram's battle to reach his lover, in the language of psychoanalysis, is a reflection of the psyche's sweating to solve problems related to the unconscious and absorb it into consciousness. ConclusionFolktales have a happy ending with a happy union. The same issue shows the repetitive pattern of these stories and, in fact, general and universal content that depicts the path of human excellence towards a comprehensive personality. In this research, the following results have been obtained:Keshvarshah is a symbol of man or the actualized dimension of the psyche (self-awareness) that strives to achieve a new and superior personality.Prince Bahram is a symbol of his archetype, which becomes active after man's effort and concern for progress and tries to harmonize different parts of the unconscious mind. At first, he reaches the psychic center with the help of an unseen helper (deer, a code of the wise old man) and there, after facing the image of his incomparable lover (Anima), with the guidance of the wise man (Pir Bazargan), he walks on the long and difficult path of love.In this story, the shadow has a positive side as well as a negative side. After encountering Anima, the prince reaches the land of fairies (Jenian). Jeni brothers (Shadow archetypes) first appear in the enemy's delegation and after defeating Bahram, they help him in the prince's battles by giving him a few strands of their hair; Therefore, after this change, they are considered a symbol of the positive dimension of the shadow. The negative effects of the shadow have also been shown by elements such as the prince's rivals and the demons, after defeating the Jenian, Bahram first faced the demon and after killing it, he faced the mysterious and terrifying world of the collective unconscious (the terrible sea) and the various manifestations of this unconscious, such as the negative shadow (Behzad and Noushadshah), the hero, etc.In the end, after marrying Golandam, Bahram finds out about his father's restlessness and unhappiness with the help of the archetype of sleep, and after returning to his homeland, he becomes a worthy successor to his father. In this story, the direction of the prince's journey is from the West, i.e. ignorance, to the East, i.e. inner illumination, and this is another secret of man's effort to achieve the higher aspect of personality. According to Jung's view, in this system, the prince's conflict is related to the negative aspects of the psyche; because it is difficult for humans to accept the negative aspects of their existence and to change them. The archetype of the wise old man also appears twice in the story, and the reason for this is the prince's confusion and desperate need to find a way out of his current situation.

Cinema has been influenced by mythology since the first years of its invention. Mythological elements, which are frequently used in today's cinema, are used as an important reference. Cinema strengthens the narrative language by reproducing myths and creating new myths. Cinema, which has a strong and effective aspect in this respect, reflects the unconscious of the masses in human history. Considering the similarities of cinema with mythology, dream and reality are intertwined while cinema reshapes reality. Both cinema and mythology use experiences that are constantly repeated throughout generations through archetypes that have been in our collective unconscious since ancient times. Therefore, today, cinema appears as a reshaped form of mythology. In this process, film directors have almost become myth-tellers. At this point, cinema, just like myths, has changing and even transformative effects on society. Especially with the studies of writer Joseph Campbell in the field of mythology, the "monomyth" theory - the hero's journey - was adapted to the filmmaking process in cinema. An example of the work that offers a different cinematic experience is the movie "Dark City" (1998), directed by Alex Proyas, which deals with sociopolitical, scientific and philosophical themes as well as mythological elements. Functionally, the film makes one think about the questioning of human nature and the concepts of identity and memory. The journey of John Murdoch, the protagonist of the film, is designed in accordance with Joseph Campbell's theory of the hero's journey. The hero's journey is a fictional structure frequently used in mythological stories. The hero's journey in the movie "Dark City" follows the outline of Joseph Campbell's hero's journey scheme. The hero breaks away from his normal life and finds himself in an adventure where reality is questioned. This adventure provides opportunities for his personal growth and transformation, and eventually the hero discovers his true identity and power. "Dark City" is a science fiction film inspired by ancient mythological stories and Jungian psychology. In this regard, the study aims to look at various aspects of the film from a psychoanalytic perspective. It is aimed to examine the symbols and cinematographic techniques used in the film, the archetypal characteristics of the characters in the film and mythological references. [ABSTRACT FROM AUTHOR]

In Eugene O'Neill's Long Day's Journey into Night, four members of the Tyrone family make some choices about their careers and family life. It is apparent that the adverse outcomes of Tyrones' respective decisions that they have reached hold sway and torment the rest of their lives. Although James Tyrone, the head of the family, announces his credo as keeping his family together and healthy, his two sons Jamie and Edmund and his wife Mary suffer from different types of addiction, from not being able to position themselves in a respectable environment and to develop healthy relationships. The play takes place on a single day, starting from 8.30 in the morning to midnight, which is quite parallel with the descending mood of the characters and events. Each of these characters' tragedies can be traced not only in their seemingly conscious choices but in their collective unconscious which can be anatomized with some Lacanian conceptual backcloths. This paper forms its basis on discovering the ulterior motives of the characters' actions and the way they speak language by scrutinizing their unconscious, which reveals itself in a structure of language in Lacanian outlook. Thus, this study aims to create a hermeneutical frame by laying the underlying reasons for why the Tyrone family suffer, which can be traced in how these family members fail to identify themselves with the symbolic father which is a functional metaphor for rules and regulations in the society and by highlighting what kind of master signifiers the Tyrone family keep using to substitute the Name-of-the-Father. [ABSTRACT FROM AUTHOR]

Given the unprecedented events unfolding around the globe over the past four years, psychoanalytic communities near and far have sought to ask and ventured to answer the question: What does psychoanalysis have to offer individuals, and the collective, as a way of seeing and being with the reality of what is? Taking up these questions in such a time as this, feels, perhaps inevitably, unsafe. Sometimes it can feel as if there is a silent and unspoken mandate to ensure safety at all costs when we seek to find a spirit of the depth's response to the spirit of the times. I propose that the work of psychoanalysis is grounded in nothing but the journey through that which is unsafe. This article will take up Ann Ulanov's notion that one's own evil is the hinge door into collective and archetypal evil. To become unhinged means to risk well‐formulated understandings, theories, and modalities about being and becoming for the other and instead to allow the other to penetrate that which is unknown in ourselves, upending our well‐formed theories and pressing us to take up our own lives in new and unpredictable ways. [ABSTRACT FROM AUTHOR]

Digital Trauma Crises, disasters and conflicts imply the destruction of the built environment, while the mediatisation of traumatic events contribute to the definition of an apocalyptic imaginary in which architecture plays its iconic role. Immersed in the image industry, some contemporary projects seem to exploit the perverse fascination of the collective unconscious for destruction and apocalypse through the simulation of ruined buildings, ambiguously synthesised in a three-dimensional translation of digital aesthetics. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Analytical Psychology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iranian Studies / Pizhūhish/hā-yi Īrānshināsī is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Idyllic life is a crucial scenario in digital media marketing and virtual tourism. It is an idealized image of rural life that greatly influences tourists' choice of rural destinations. However, this image tends to lack an Oriental cultural perspective. Through a discourse analysis of Chinese newspapers and WeChat articles, six dimensions of the projected image of idyllic life were identified and their relationships were constructed. In addition, kinaesthesia and atmospheric sense were explored to enrich sensory marketing theory. The study provides support for rural tourism destination marketing. It also reveals that visions of the idyllic life are common between the East and the West, suggesting cultural commonality. The collective unconscious image of idyllic life also complements the image of a rural tourism destination. [ABSTRACT FROM AUTHOR]

The memories of past experiences have an unconscious influence on the present. In her novel Beloved, Toni Morrison vividly portrays the atrocities of slavery, shedding light on the enduring psychic wounds inflicted upon subjugated Black women and their motherhood. This study explores the embedded memories, trauma, and dehumanization that control and distort the ability of Black individuals to respond to the human experiences of maternal bonds. While existing literature has extensively explored motherhood, a gap remains in understanding the archetypal development within the fragmented psyche of tormented mothers. Drawing from Carl Jung and Eric Neumann's collective unconscious and mother archetype concept, this interdisciplinary research aims to identify and examine the dual nature of motherhood - the loving and the terrible. By analyzing the reasons behind this duality, we seek to redefine motherhood, considering the exhibition of two contradictory natures among oppressed mothers. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The recent publication of C. G. Jung's notebooks, The Black Books, provides fresh insights into the project of self-exploration undertaken by the founder of analytical psychology. Jung developed a technique for bringing the contents of his unconscious into his conscious psyche. On occasion he brought forth signs he called "runes" and "hieroglyphs." These appear in The Black Books, in several mandala sketches, and in paintings in The Red Book. They were interpreted by imaginary entities conjured up through his method of active imagination. Here Jung's enigmatic graphic language is analyzed and placed within the historical, cultural, and psychological context from which it emerged. [ABSTRACT FROM AUTHOR]

This article examines the artistic work of Hazem Harb, a Palestinian artist, who explores themes of displacement and the ongoing conflict between Israel and Palestine. Harb's artwork challenges dominant narratives and reflects the historical echoes of the current assault on Gaza. The article also discusses Harb's transition from installation and collage work to expressive paintings of tortured bodies, which he began creating as a teenager in Gaza. Through his use of archival material and objects, Harb's artwork serves as a testimony to the existence of Palestine and the Palestinian people. [Extracted from the article]

The article discusses the legacy of André Corboz, a Swiss historian of art, architecture, and urbanism, who is relatively unknown in North America due to the limited availability of his translated writings. Corboz is known for his concept of territory as a palimpsest, which emphasizes the need to reinterpret and recycle historical spaces to meet present needs. The article highlights an exhibition held in Lausanne that showcased Corboz's notebooks, sketches, photographs, and other materials that demonstrated his unique approach to understanding urban and landscape studies. The exhibition aimed to unravel Corboz's thought process and his interdisciplinary approach to knowledge production. A website has also been created to further explore Corboz's work. [Extracted from the article]

The personal secrets of humans are just as though a deep and dark well. The peculiarities that occur within human beings not only attract numerous psychiatrists to unravel them but also captivate a Japanese writer, Haruki Murakami. In his novel entitled The Wind-Up Bird Chronicle, he conveys subjective experiences through his main character. The novel tells the story of Toru Okada’s subconscious journey. It is where human memories connect with various ancient subconscious thoughts, strange illusions appear, and unheard voices manifest to ordinary humans. These are common indications of schizophrenia symptoms. The research reveals the challenge in identifying this syndrome, as affected individuals become detached from the “true reality.” Consequently, a more structured approach is deemed necessary to facilitate their reintegration. With the assistance of mythology, wherein this narrative serves as a collectively recognized storyline, those trapped within their fantastical worlds can effectively communicate and establish connections with those residing in the “true reality.

With the 2020 publication of the facsimile edition of The Black Books, we have an opportunity to study the layers of C. G. Jung's creative writing process for the first time. In this paper, I explore Jung's practice of active imagination in relation to his fantasy dialogues with the dead during two specific episodes in 1914 and 1916. I discuss Jung's concept of the collective unconscious corresponding to the "mythic land of the dead" and I show how this idea develops in The Black Books and The Red Book, or Liber Novus, culminating in Septem Sermones ad Mortuos. I describe my work with a patient, who, in an early session, said she felt like the "living dead". I recount how the patient's experience of her own internal world began to change as we were able to wonder about the inner world of the patient's late mother and, together, to imagine her mother's lament. I consider the use of imagination when working with the concept of "therapy for the dead" (Hillman & Shamdasani, 2013, p. 164) in the context of intergenerational trauma. [ABSTRACT FROM AUTHOR]

In continuation with my on-going research and presentations on sport as a field of channeling and externalizing cruelty and violence, as a field of transfiguration of drives, in this paper I will examine instincts, drives and sublimation in Freud and post-Freudian psychoanalytic literature within the context of sports. Freud was influenced by Nietzsche on his drive theory; however, in Freud it assumes a specific meaning and finds its place within the context of his overall psychoanalytic work, especially in relation to his second topology of the human psyche that consists of id, ego and superego and his theory of sublimation. Ultimately, Freud reduces all drives to Eros and Thanatos and explains their workings in relation to the constitution of the psyche. Sublimation has a direct correlation to drives, which is a culture/individual specific way of treating and channeling drives; sublimation also has much to do with suffering and how we deal with suffering (and other emotions as I discuss in my book, Emotion in Sports). What I would like to explore in this paper is to understand in what ways sport is a form of sublimation and how sport may address the subject of drives, both Eros and Thanatos. Since Freud sees both of these drives as bound together in many contexts, does sport constitute one of those areas? What type of psychic constitution does the sporting culture assume? Or, to put it differently, what are the dynamic relations of the different parts of the human psyche, the id, the ego and the superego, in the practice of sport and in the community of sports? Here and elsewhere, in agreement with Jung, I will include discussion of 'collective unconscious', as I explore the significance of symbols of sport in the life of individuals and cultures. [ABSTRACT FROM AUTHOR]

Henry Abramovitch has written a mystery that astonishingly replicates the process of individuation in Jungian analytical treatment. Like any mystery it focuses on uncovering clues to the problem and finding a solution. This story is assisted by the guide of the analyst and the active imagination of the client in the character of Sherlock Holmes, of all people. The book brings into question the personality and role of the analyst, the meaning of the symptom, and the personality and role of the client. Like analysis, the ending is a surprise, culminating from a startling beginning plot line with spell-binding intrigue. [ABSTRACT FROM AUTHOR]

The One, by theoretical physicist Heinrich Pas, reviews the history of monism from the Greeks to the modern period. Pas proposes a monism he calls "the One." His One follows from quantum mechanics. It is a universal wave function. He is then faced with how our everyday world arises. To answer he relies on a version of Evert's many-worlds interpretation of quantum mechanics and a process of decoherence that results in a dualism of consciousness and the quasi-classical world of space, time, and matter. C. G. Jung proposed a dual-aspect monism influenced by synchronicity. A comparison between Pas's monism and dualism and Jung's finds some apparent differences, but in the end they are found to be remarkably similar. [ABSTRACT FROM AUTHOR]

This essay contends that emotional oscillations between subordination and emancipation are responsible for the inconclusivity and evasiveness of Le Fanu’s plots, which critics often emphasise but rarely try to explain. The parallels between, on the one hand, the dual structures that pervade Le Fanu’s works and, on the other, the binaries of latent dream thoughts and manifest dream content, the familiar and the uncanny, which Sigmund Freud employs in his explorations of the unconscious, shed significant light on the motivational forces at work in Le Fanu’s oeuvre. Le Fanu uses displacement and condensation, the major operations Freud attributes to dream work, to create an outside world, which reveals itself as an upended world within. This essay tries to demonstrate the psychological significance of central motifs in Le Fanu's works, such as the double and the closed room. In light of later psychoanalytical insights into the influence of childhood traumatisation on the creativity of writers, Le Fanu appears absorbed by the incorporation of his innermost mortifications and yearnings into the defamiliarisations of his fiction. On the basis of Gothic patterns, he produces psychological fiction avant la lettre. He anticipates George Orwell’s dissection of mental processes in terms of manipulative social engineering, H.P. Lovecraft’s fantastic evocations of a Jungian collective unconscious, and literary interiorisation by modernist techniques, developed not long after Le Fanu’s death by the likes of James Joyce and Virginia Woolf. [ABSTRACT FROM AUTHOR]

Amongst all the goddesses in ancient China, the Queen Mother of the West (Xiwangmu) represents the most multi-layered mother archetype with the richest connotations. Through a longitudinal literature review, this paper aims to explore different facets of the Queen Mother of the West as a representation of the Great Mother archetype in Jungian psychology. In ancient China, she was a supreme goddess controlling the order of the universe. Her residence, Mount Kunlun, is capable of nourishing and devouring life. She possesses the elixir of life and controls the punishments of the world. Thus, the Queen Mother of the West is transformed into a deity of both life and death. In the funeral rituals of the Han and Tang dynasties, she was a goddess who summoned the dead and led their spirits to heaven, while in folklore she was a mythical Muse for many emperors and the anima of many intellectuals. She is the mother of reincarnation and the eternal spirit. As a symbol for instinct, archetype and femininity in the collective unconscious, the Queen Mother of the West embodies both the positive and negative aspects of the mother archetype: the positive being the persona of the Great Mother and the negative being the shadow. At the ultimate stage of spiritual development, she acts as the anima and the transcendent Holy Virgin in ancient Chinese culture. [ABSTRACT FROM AUTHOR]

This study develops the research initiated in the volume titled In the Shadow of an Echo: Silence, Archetype, Recipience (2021). Unlike it, though, focusing on investigating the notion of silence relying on keywords such as the collective unconscious specific to analytical psychology, this study points out silence in its relationship either antinomic or complementary with language and all the notions escorting it closely: sound, noise, scream, whisper, logorrhoea, etc. It is a plea in the field of cultural studies, extracting its hypotheses from the sphere of the most recent challenges within neurosciences, phenomenology, and performing arts. The author does not aim to reach the same conclusions using another intellectual tool. On the contrary, he attempts to shed another light on silence, thus providing readers with both certitudes and mostly dilemmas, inviting them to better self-knowledge. [ABSTRACT FROM AUTHOR]

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Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha's party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha's party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha's party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject's projection and fantasy; consequently, it causes the multifaceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting. [ABSTRACT FROM AUTHOR]

From the mythological point of view, the hero of a literary text is an archetype in the collective unconscious who embodies the collective ideals of a culture while searching for his/her individual identity at the narrative level. In his seminal The Hero with a Thousand Faces (1949), Joseph Campbell addresses the archetypal function of the hero in three main stages: departure, initiation, and return. Drawing on Campbell’s model, this study examines the journey of the hero in the second storyline of The Seventh Day of Creation, i.e., Al-Sirah al-Mutlaqiyeh. Sirah al-Zatiyeh is a sequence to another study by same authors that examined the first storyline of the novel (Al-Sirah al-Zatiyeh) with regard to the author’s personality and individuation. Proceeding from the analysis of Al-Sirah al-Zatiyeh, this study considers Mutlaq as an antihero based on Campbell’s model and identifies a Hegelian dialectic relationship between the two storylines of the novel. Al-Sirah al-Zatiyeh and Al)Sirah al-Mutlaqiyeh, which respectively represent the individual code and the social code, are designed to showcase an ideal Iraqi society. More precisely, highlighting the opposition in the two main parts of the narrative points at the movement and dynamism desired by the author for changing the future of the country. [ABSTRACT FROM AUTHOR]

A combination of somatic and psychodynamic approaches can reveal embodied ego-states, subpersonalities, and archetypal influences communicating through the body-mind. This paper supports the hypothesis that ego-states and other elements of the psyche manifest somatically. Thus, more attention needs to be given to the body as part of the therapeutic dialogue. This can illuminate egoic manifestations occurring with bodywork - for example, Reich's process for loosening character armoring, and Jung's theory of a universal collective unconscious with its archetypal forces manifesting biologically, leading to soul growth and individuation. Fragmented ego states, archetypal forces, and introjected subpersonalities become conscious as messenger molecules and neural networks attempt to communicate and heal the mind-body split. The goal is integration leading to embodied wholeness. [ABSTRACT FROM AUTHOR]

The article explores the meaning and importance of myths in culture and the human psyche. It emphasizes that myths reflect essential aspects of culture and the psychic structure of individuals, and can define customs and beliefs, explain natural and psychological phenomena, reveal archetypes of the collective unconscious, and serve as a form of social communication. The article also analyzes the myth of Procne, which shows political, cultural, and psychic elements, and relates to gender violence and women's access to knowledge. It raises the importance of resolving the confusion between revenge and justice, and of learning to forgive and heal without silencing the victims. [Extracted from the article]

The personal secrets of humans are just as though a deep and dark well. The peculiarities that occur within human beings not only attract numerous psychiatrists to unravel them but also captivate a Japanese writer, Haruki Murakami. In his novel entitled The Wind-Up Bird Chronicle, he conveys subjective experiences through his main character. The novel tells the story of Toru Okada's subconscious journey. It is where human memories connect with various ancient subconscious thoughts, strange illusions appear, and unheard voices manifest to ordinary humans. These are common indications of schizophrenia symptoms. The research reveals the challenge in identifying this syndrome, as affected individuals become detached from the "true reality." Consequently, a more structured approach is deemed necessary to facilitate their reintegration. With the assistance of mythology, wherein this narrative serves as a collectively recognized storyline, those trapped within their fantastical worlds can effectively communicate and establish connections with those residing in the "true reality. [ABSTRACT FROM AUTHOR]