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In this paper, I argue that Nissim Ezekiel’s “Enterprise”, first published in The Unfinished Man (1960), strongly alludes to the Book of Job from the Old Testament of the Bible. Through intertextual and interdisciplinary readings, one can discern how the shadow that falls upon the characters of Ezekiel’s poem during the pilgrimage possesses the characteristics of Yahweh’s shadow that falls upon Job, and becomes directly responsible for his decrepitude. The shadow grows in both texts because the Supreme Unconscious (God) is indifferent to(wards) the human condition, and to the consequences of an apocalyptic aftermath, as illustrated in C.G. Jung’s Answer to Job. Their spiritual and moral states are restored upon two conditions – the protagonist’s internalization of both human struggle and divine wrath makes him resilient towards both, creating the theoretical premise for the resolution of their antinomy, followed by the evocation of the sublime that resists annihilation as well as the catastrophe of extreme suffering. It leads to the substitution of the poem’s theoretical framework from “the good of God” to the “agon of the Go(o)d”, as I argue towards the conclusion of the paper. [ABSTRACT FROM AUTHOR]

This book review contextualizes Jung and Aging: Possibilities and Potential for the Second Half of Life within feminist considerations while discussing the stage of life and its spiritual and depth psychological possibilities as they apply to women in their 80s and 90s. Included is the Crone archetype and how it contributes to both the book's themes and the theme of this special issue around aging, living, and work. [ABSTRACT FROM AUTHOR]

How do women reject the feminine in postfeminist working life, and to what effects? Organisational scholars have long argued that the feminine is discouraged or reconfigured in neoliberal, postfeminist organisations that value masculine-oriented traits. But what the feminine encompasses, how it is rejected and to what effects is less clear. In this article, we draw on feminist post-Jungian theory, which understands the feminine as archetypal, emerging over thousands of years of human history and characterised by paradox, circularity, being and descent. Feminist Jungian thinkers agree that the archetypal feminine is neglected, if not denigrated, in neoliberal, capitalist cultures, much to our detriment. Reflecting on data from a qualitative, longitudinal study on early career formation and work experiences with 15 young women, we reflexively discuss how in postfeminist working life, disavowing the archetypal feminine manifests by: adhering to ascensionist ideals to the detriment of slowness and inactivity; engaging linear thinking to the detriment of cyclical, paradoxical being; and avowing rational objectivity to the detriment of embodied instinct. This engenders both collusion with postfeminist power structures and psychic effects such as dis-ease and anxiety, which we argue can be ameliorated by recognising and embracing the archetypal feminine within. [ABSTRACT FROM AUTHOR]

From its origins, the Christian religious imaginary has been inhabited by the sacrificial fantasy, which finds its most radical symbol in the crucified body. According to the principle of imitatio Jesu, believers have always been called to consider pain as an experience to be lived and shared with Christ, to be offered to him as a gift of self to the Other. Already the masters of suspicion condemned this ascetic-religious cult of sacrifice and showed its dehumanizing and superegoic side, characterized by the violence of abuse, authoritarianism, submission, and above all the denial of life. However, this beneficial and liberating critique has removed the donative and not merely alienating aspect not of the sacrificial body, but of the symbolic sacrifice. Starting from a close dialogue between systematic theology and (Lacanian) psychoanalysis, this contribution aims to question both the sacrificial (religious) fantasy in its alienating character and the equally superegoic drive of the imperative of unlimited enjoyment as a reaction to any kind of symbolic limitation. Against this background, an attempt will be made to think of a form of sacrifice that follows the logic of the gift (of the body), without being subjected to a logic of alienating exchange.

C. G. Jung wrote very little about psychedelic drugs and he took a sceptical view of them. However, he was sufficiently impressed by Aldous Huxley's 1954 account of taking mescaline, The Doors of Perception, to invite Huxley to visit him in Switzerland. Huxley declined Jung's invitation but Huxley's collaborator Humphry Osmond met Jung instead. This paper documents Jung's contact with the British pioneers of psychedelics research and presents the scant material illuminating his views about these drugs. It also determines the efforts of British psychiatrist Ronald Sandison, who was the first to develop an "explicitly Jungian approach" to psychedelic‐assisted psychotherapy (Hill, 2013), and it highlights a connection between Sandison's initiative and the Society of Analytical Psychology (SAP) through the involvement of two SAP members: Margot Cutner, Sandison's colleague, and Michael Fordham, who supervised a trainee working with one of Sandison's former patients. Despite Jung's objections to the use of psychedelics, Sandison and Cutner developed ground‐breaking protocols during the 1950s and they were among the first to document the phenomenon of "spiritual rebirth symbolized in the birth experience known to many LSD therapists" (Sandison, 2001). In two companion papers, I consider Jung's treatment of the rebirth motif in his commentary on The Tibetan Book of the Dead, which later became a central text in the psychedelic movement, and I chart the evolution in psychedelics research from an association with schizophrenia during the 1950s to the mystical paradigms of the 1960s and beyond. [ABSTRACT FROM AUTHOR]

Although hallucinations are a feature of psychosis, they can present in non-psychotic disorders and may occur in non-pathological states. Jung argues that unconscious complexes underpin hallucinations and further observes that some of the symptoms of 'hysteric' patients – including hallucinations – were also common amongst patients with schizophrenia. However, the outward presentation of symptoms was markedly different for each patient group. Jung mobilises his complex theory to explain this difference. We argue that Jung's understanding of hallucinations applies to contemporary healthcare; it frames how hallucinations may manifest in multiple conditions, not just psychosis. This brief report discusses Jung's theories and their continued veracity in contemporary contexts. [ABSTRACT FROM AUTHOR]

In this paper I will attempt to show how horror movies function as societies' nightmares. They can be interpreted as depictions of our collective struggle to integrate and inevitably repress national trauma. In most psychotherapeutic traditions dreams are regarded as valuable communications from the unconscious and vital for psychological maturation. Among dreams, nightmares often point to indigestible experiences on an individual level. Similarly I will argue that horror movies grapple with our collective traumas and can be interpreted just like dreams. They are our collective nightmares. The logic of this approach is based on psychodynamic and analytic theory and the shared characteristics (isomorphism) of watching a movie and having a dream. Relevant psychodynamic theory and movie analysis will be used to further this point. [ABSTRACT FROM AUTHOR]

Shadow maternal subjectivities manifest in complexes deadly for children, but are born of trauma and patriarchal oppression of mothers. If maternal subjectivity is the Self that is informed by the psychological and physical experiences of giving and nurturing the life of a child, and shadow is a Jungian concept that refers to the unconscious aspect of the personality that contains all the elements of ourselves that we deny, repress, or disown, shadow maternal subjectivity is the destructive life-taking energies of a mother. These shadow subjectivities at times come alive in complexes. Complexes, another concept developed by Carl Jung, are unconscious emotionally charged and organized sets of memories, fantasies, and behavior patterns constellated around a core element. Enough stress can manifest a shadow mother complex, when maternal shadow energies fuel a complex that overwhelms consciousness and causes mothers to act out in their relationships with her children. There are several ways shadow maternal complexes manifest, such as the vampire mother, the depressed/addicted mother, the puella aeterna mother, the Aphrodite mother, the Munchausen by proxy mother, and the devouring mother. This paper explores these complexes and how a patriarchal idealization of motherhood precludes mothers from admitting their own finitude or any negative maternal feelings. At times these repressed negative feelings, or shadow subjectivities, become destructive, sometimes fatally. What is required is a greater range of acceptance of maternal subjectivity. [ABSTRACT FROM AUTHOR]

From the point of view of depth psychology, which focuses on the personal and collective aspects of the human psyche and is nourished by the theory of psychoanalysis, seeing dreams and fairy tales as the masked realization of unconsciously repressed desires, fairy tales are archaic legacies that emerge from the collective part of the unconscious to the surface of consciousness and are therefore the projection of collective experiences,. Althouth the manifestations of these legacies on the surface of consciousness and in fairy tales vary, the hidden meaning they contain is constant. The intricate relationship between archetypes, dreams, and fairy tales is predicated on their capacity to convey the fundamental dilemmas surrounding human existence and development through a symbolic lexicon. Central to the collective unconscious are archetypes that embody the inner images of the psyche. Among these, the self represents the core of consciousness, encircled by the unconscious; the persona encapsulates the individual's outward spiritual demeanor; the shadow signifies the repressed aspects of the self; the anima serves as the integral feminine component within the male unconscious; the animus reflects the masculine essence within the female; the trickster embodies the consciousness unbridled by instinctual drives; the wise old man symbolizes the spirit of nature; and the grandmother archetype oscillates between nurturing and destructive forces, representing both growth and fear. These archetypal motifs in fairy tales have garnered considerable attention across various disciplines, including psychology, linguistics, folklore, and literary studies. Notably, research in archetypal fairy tale analysis often remains confined to specific national philologies or lacks a focused examination of femininity. This study seeks to bridge this gap by comparing representations of femininity across Turkish, German, French, Italian, and Arabic literary traditions. Employing a Jungian framework through archetypal criticism, this research aims to elucidate the foundational types of feminine images present in the collective unconscious, analyzing how these representations manifest in the narratives of world fairy tales. Furthermore, it endeavors to delineate the psychological building blocks these feminine archetypes embody, exploring their correspondence with the fictional worlds depicted in the aforementioned literary traditions. By examining the intersections of these archetypal feminine images, this study aspires to contribute to a more nuanced understanding of how cultural narratives shape and reflect the complexities of gender identity and the collective psyche across diverse societies. In doing so, it aims to enrich the discourse on femininity in fairy tales, emphasizing the need for a comprehensive and cross- cultural approach to the analysis of these enduring narratives. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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.)

In this paper, I present the idea that the documentary film My Octopus Teacher (Ehrlich & Reed) is an evocative allegory for some key threads in the ongoing learning at the heart of psychotherapy. On the one hand, the film is a narrative about a relationship formed between the narrator and documentary‐maker Craig and an octopus that he encounters in daily dives in an underwater kelp forest. On the other hand, it is a story–dream of a man and an octopus who swim together in the proto‐mental seas of the unconscious, a space where fluidity and symmetry rule, and where the boundaries between I and thou dissolve. Alongside the theme of mutual dream work, the documentary presents an evocative allegory of what it takes to practice as a therapist: the maps of our own disintegration that inform our work, and the key dispositions of learning to watch and observe and to fine tune our faith. [ABSTRACT FROM AUTHOR]

Jung stated that active imagination is a fundamental component of the second phase of an analysis that can continue even outside the analytic setting. Since it can be conveyed through various expressive techniques, such as writing, drawing, and painting, it is possible to argue that all forms of psychotherapy based on art (e.g., poetry, dance, and theater) originate from Jung's contribution about active imagination. This paper focuses on Sandplay Therapy as one of the forms of expression rooted in active imagination. Apart from some critical differences between the two analytic processes (e.g., active imagination is usually prompted in the last phase of the analysis, while Sandplay Therapy might be used since the first sessions), there are several convergences. Among the principal analogies, consciousness lends its expressive means to the unconscious, which decides what to depict. Also, the resulting image is determined from both the consciousness and the unconscious and is related to the person's conscious situation. Finally, I suggest that Sandplay Therapy—aside from contributing to the subsequent development of active imagination itself (as suggested by Dr. Carducci)—might also be used to practice active imagination in a "facilitated" and protected setting. It would help let the unconscious come up while creating the image in the sandtray, and it fosters the confrontation between the unconscious and the consciousness through the contemplation of the image in the sandtray. [ABSTRACT FROM AUTHOR]

This paper begins by introducing the mythical origins of the wounded healer ethos and its relevance to therapy practice today. As a counselling psychologist in training, I consider my relationship with the wounded healer paradigm, and my position of discomfort in embracing the language of wounds and healing as applied to human suffering. This unease prompts a journey of deconstruction, probing the idea of therapists as healers. I visit authors from counselling psychology, critical psychology and psychoanalysis, who contribute diverse narratives of the role and influence of therapists, ranging from professional helper to malign deathmaker. I end with a return to the wounded healer ethos, holding this position lightly, as one of multiple complex and challenging narratives of being a therapeutic helper. [ABSTRACT FROM AUTHOR]

Copyright of Exacta is the property of Exacta - Engenharia de Producao 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 author examines the archetype of the uroboros as it appears in the opening ceremony of a bush doof music festival. Within this rite, a womb-like state is created for participants through the use of darkness, bodily stillness, and the sonic dominance of low-end frequencies. This state is symbolically associated with the archetype of the uroboros as described by Jungian psychoanalyst Erich Neumann. It is then posited that both music and human consciousness emerge from this state. [ABSTRACT FROM AUTHOR]

After Evangelos Christou (1923–1956) studied philosophy at King's College, Cambridge, with Wittgenstein and others, he earned a doctorate at the Jung Institute in Zürich. He then returned home to Alexandria, near which he died in a car crash. The Logos of the Soul, published posthumously, argued for a psychology that would be neither a natural scientific psychology, devoted to causal analyses, nor a philosophical discipline that analysed mental events. Psychology would be an autonomous science of the soul, an unknown distinct from body and mind. Science deals with bodies and behaviours; philosophy with the mental concepts and acts. Psychology deals with "psychological experience". Dreams and fantasies can be sources of psychological experience, but so can perceptual acts and mental acts. Meaning occurs when something encounters an ego or self in a psychological experience. Observation in psychology is participant observation, akin to witnessing of a drama. Psychological methods, such as psychotherapy, are both means of discovery and means of becoming. Christou's work brought together Jung's analytical psychology and mid‐century British philosophy in order to stake out the ground for psychology that would be an empirical analysis of psychological experience and a logical analysis of the concepts used in that psychology. [ABSTRACT FROM AUTHOR]

In its typical form, an "anima projection" is a psychic experience in which a heterosexual man is caught up by an intense, almost magical attraction for a woman. What sets these numinous experiences apart from a common "crush" is a pattern of specific phenomenological characteristics. Anima projections are particularly common in late adolescence and early adulthood, when they can cause a deep sense of disorientation. Little education exists for young men on how to deal with these experiences and to actualize the developmental opportunity that underlies them. In this paper, I frame anima projections as an ethical problem and outline a psycho‐ethical "map" that is intended for use by disoriented young men, or by any practitioner who may be tasked with helping them navigate this challenge along the path of individuation. The map considers four solutions to the love problem: the "concretistic‐literal", the "fearful‐avoidant", the "rational‐depressive", and the "transitional‐developmental" solution, and indicates the latter as the one that is conducive to optimal psychic development. Although developed with a focus on young men, the map may apply to other relations based on projection, regardless of age, sex, gender, or sexual orientation. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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.)

This paper looks at the 2015 use of the Australian rock song Khe Sanh by far-right nationalist group Reclaim Australia and how it points to deeper archetypal dynamics at play, which are driving the appearance and behaviour of groups like this. Drawing from the work of Swiss psychoanalyst Carl Jung, I treat the song as an expression of the archetype of the fallen hero, who confronts darkness but cannot reintegrate back into the social world and, instead, remains fallen. As I discuss, this song resonates deeply with Reclaim Australia members because it reflects their own ideological conceptions of their place in the changing Australian nation. I use a Jungian archetypal approach because it allows us to explore the underlying psychic structure and instinctive patterns that drive the behaviour of groups like this. Where other approaches may simply focus on the behaviour, an archetypal approach goes much deeper, addressing the root of the behaviour. [ABSTRACT FROM AUTHOR]

Jung's conceptualization of synchronicity has a relation to his engagement in astrology began in roughly 1906. Jung's conceptualization of varieties of synchronistic experiences can be divided into non-divinatory and divinatory experiences. Among the divinatory sources, he overlooked the differences between I-Ching divination and astrology. His neglect caused a logical discrepancy in his early synchronicity theory. Forty-six years after his first engagement in astrology, his essay on synchronicity (1952) possesses a long section for his astrological experiment. In his astrological experiment, his problematic understanding of metaphysical and methodological issues behind the experiment led to the failure of his statistical part of the experiment. The case study part of it turns to support his meaningful chance version of synchronicity theory and leads to the acknowledgement of the standard version of synchronicity theory: meaningful chances. [ABSTRACT FROM AUTHOR]

An oft‐repeated and largely unexamined assumption in Jungian psychoanalysis is the notion of "analyzability", that is, of an individual's ability or present capacity to think symbolically. It is often taught that if someone is unable to think symbolically, a depth analysis is not possible. Such an individual may be more aptly suited for supportive psychotherapy, the argument goes, an experience that may very well lead to the development of the ego's capacity for symbolic thought but is not, in and of itself, a Jungian analysis. While this sort of categorical thinking has, at times, crossed over into ontological claims about individuals and groups, the notion of analyzability encountered in psychoanalytic theory and praxis is often cloaked in facially neutral language. The impact, however, has been anything but neutral in effect. In this paper, I propose a softening of our theoretical edges through a genealogy of the category of analyzability within the broader history of psychoanalysis. Through this excavation, I explore the contingent nature of the category of analyzability, how it has constricted knowledge, perpetuated inequality, and, more broadly, obscured ways of knowing. In so doing, I recover the radically democratic potential that lies at the heart of Jungian psychoanalysis. [ABSTRACT FROM AUTHOR]

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.)

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.)

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.)

IntroductionThroughout the history of Persian language and literature, the rubāʿī (quatrain) has enjoyed special popularity among both the lay and literati. This popularity has also introduced certain challenges and complexities to this poetic form over time. One such challenge is the issue of “wandering” rubāʿīs, that is, quatrains attributed to more than one poet. Studying these wandering rubāʿīs is only feasible with the aid of all available ancient sources.At various times, literature enthusiasts in Persian-speaking communities have compiled anthologies of different types of poetry and prose. The rubāʿī has often held a special place in such collections and anthologies. In addition to collections exclusively dedicated to rubāʿīs of various poets, many safīne compilers have allocated sections to rubāʿīs. The abundance and significance of scattered rubāʿīs in ancient safīnes necessitate independent research on them.The two manuscripts examined in this study are valuable examples of such sources. These two manuscripts, namely Manuscript No. 3775 from the Esma’il Sa’ib Library in Turkey and Manuscript No. F.738 from the Istanbul University Library, are originally two parts of the same Jung. According to the Esma’il Sa’ib manuscript, the Jung was transcribed in 681 AH (1282/83) by a literary figure, likely from Anatolia, named Yunus ibn Abi Bakr. Literature ReviewBoth fragments of this Jung have previously been introduced in detail and separately, with references to the connection between these two manuscripts. The Esma’il Sa’ib manuscript is one of the sources used by J. Bashari in his edition of Poetic Translation of Imam Ali’s Will to Imam Husayn, where he extensively introduces this manuscript in the introduction (Seyyed Hasan Ghaznavi, 681AH/1282-83: XXXVI-XLIV). Furthermore, S. A. Mirafzali, discussing a quatrain attributed to Khayyam found in this source, briefly describes and mentions this manuscript (Mirafzali, 1382/2003: 49). The manuscript from Istanbul University Library has been meticulously introduced by Mohammad Afshin Vafaee in his note on Ferdowsi’s satire in this Jung (Afshin Vafaee, 1400/2021: 163-172). Research MethodologyIn the present study, all rubāʿīs from the two fragments of this Jung have been edited and compared with other ancient sources to provide a comprehensive report on their attributions. Finally, an analysis of the status of these rubāʿīs from this ancient source is presented based on the collected information. DiscussionIn total, the two parts of this Jung contain 59 rubāʿīs (excluding those in Niṣāb al-Ṣibyān), with only four rubāʿīs in the first part (the Esma’il Sa’ib manuscript) having attributed authors. Among known rubāʿī collections, this Jung shows the closest affinity to Nuzhāt al-Majālis, sharing 16 rubāʿīs out of 59.As mentioned, the Jung contains four rubāʿīs with attributed authors, each of significant importance. Apart from the rubāʿī attributed to Khayyam, the other three which are attributed to Mahsati, Ayyuqi, and Kamal Isma’il do not appear in other ancient sources by these poets’ names, making this Jung unique in this regard.The scribe (compiler) of the Jung has generally refrained from naming the poets of the rubāʿīs, transferring most without attribution. In this study, the authorship of some of these rubāʿīs has been identified with the help of other sources, with Kamal Isma’il contributing the most with 15 rubāʿīs. Nonetheless, many rubāʿīs appear only in this source and are absent in other ancient texts. Recording and preserving these rubāʿīs in this Jung, even without the names of the poets, is valuable.The Jung contains rubāʿīs that share one or more half-verses with rubāʿīs in other sources, indicating that poets might have borrowed from each other—a practice common among early Persian poets, though more prominent and problematic in the rubāʿī form due to its brevity. These borrowings often led to confusion and uncertainty among literary scholars regarding the correct attribution of these rubāʿīs. ConclusionCompiling and editing collections of Persian and Arabic poetry and prose was widespread in Anatolia during the 7th, 8th, and 9th centuries AH (13th-15th centuries AD). The numerous surviving collections from this period and region suggest that the rubāʿī had a particular appeal among literature enthusiasts in that area. The number of rubāʿīs in the two parts of the Jung under study is significant relative to the remaining folios of the collection.The number of shared rubāʿīs between the studied Jung and Nuzhat al-Majālis may indicate Yunus ibn Abi Bakr’s use of this Jung. However, discrepancies in attribution and recording of some shared rubāʿīs prevent a definitive conclusion.As discussed, the attributions in this Jung are all significant and mostly unique. Additionally, the unnamed rubāʿīs found exclusively in it are noteworthy and important. Some of these rubāʿīs might be the work of local poets from the region where the Jung was compiled (Anatolia).

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.

Despite the common thoughts of the poets who have stepped on the path of mysticism, each of them had a special style in depicting the ways and methods of conduct and their identification. In addition to the stylistic characteristics of a work, which play a decisive role in creating a different work, the spiritual and personality characteristics of the creator of the work also affect this matter. In this article, the personality of Attar and Rumi has been analyzed based on the theory of the famous psychologist, Gustav Jung, from the perspective of introversion and extroversion in the face of the two categories of joiner and separation. Considering the influence of the childhood environment, different incidents and events in the lives of the two poets, the difference in their views and narratives about the character of the lover, which is the main focus of romantic lyric poetry, and the moods related to it, as well as the poetic style and personality type of the two poets, it can be acknowledged that Attar has an emotional introverted character and has spoken more about Hejran (separation) than Vesal (joiner), and despite many descriptions about Hejran (separation), Rumi does not consider Vesal (joiner) to be out of reach and has an emotional extroverted personality.Keywords: Personality, Jung, Joiner, Separation, Attar, Rumi. IntroductionThe present research pays close attention to the two categories of separation and joiner in the sonnets of Attar and Rumi and has taken a special look at the personality of these two poets and examined their extroversion and introversion based on Jung's personality theory.This article examines the personality type of two poets by looking at the history and childhood of two poets and their poetic style, especially in dealing with concepts such as joiner and separation.Research Questions The present research will answer the following questions:How was the living environment and childhood of the two poets and what effect did it have on their personalities?What approach did Attar and Rumi have to the two categories of joiner and separation in their sonnets?From the point of view of psychology, what type of personality did these two poets have and what differences did this issue create in their narrative style? Literature ReviewThere are many articles and research studies from the perspective of psychoanalysis in the field of Rumi's and Attar's poems, including the analysis of the archetype of the self in Attar's Mantiq al-Tair (Gholampour, 2015), the principle of Senkhiat and identification in psychology, with the thoughts of Attar and Rumi (Anzabinejad, 2014), a comparative study of the archetype of the veil in the opinions of Jung and its traces in the ghazals of Shams (Mohammadi, Esmailipour, 2013), the lover's anima in Attar's Ghazals based on Jung's archetypal criticism (Aqrani, 2017). The following article deals with the psycho-analysis of the personality of Attar and Rumi based on Jung's typological model. The subject of this research is an innovation based on the concepts of "joiner and separation" in order to know the personality type of two poets. MethodologyThe research method in this study is descriptive-analytical. First, the principles of Jung's psychology in the field of personality have been carefully studied; then, with a complete study of life, research on the content of behavior and the study of the two poets' sonnets based on psychological studies, the personality of Attar and Rumi has been examined. ConclusionIn his romantic sonnets, Attar talks more about separation and insists on the idea that the character of a lover is always in a state of fervency and is happy to make love and stay away from the beloved. On the other hand, although Rumi talks about burning and melting and separation, his tendency has been more towards happiness, hope, and joiner. Both poets, due to having a famous family, studied science and literature and had the good fortune to reach the final goal in this way; however, during Attar's childhood, very bitter events, especially the Ghoz attack, made his mind and soul suffer, and in the later years, according to the narrations, he was a reclusive man.Based on the clear evidence of Attar's lifestyle, i.e. his tendency towards poetry and mysticism, his isolation and lack of socializing with mystics and great men of his time, his avoidance of fame and the features of the lover's personality in the sonnets, including being sad, feeling disillusioned, and being happy with the separation, emphasis on disappointment in joiner, his character can be counted among the group of emotional introverts.On the other hand, apart from the bitter experience of migration, Rumi had more security during his childhood. Like his father, Bahavald, he became famous at a young age and enjoyed being in contact with great men and mystics and the people of the city. Based on pieces of evidence such as interest in acquiring knowledge and seeking fame, having many connections with scholars and students, states after his love experience - joy, mystic dance, music, and reciting poetry in the company of friends, also the personality characteristics of a lover in his Divan - the hope of being joined, special experiences of making love, which is a creative and unique thought - it can be said that Rumi had an emotional extroverted personality.

Erik Goodwyn in this issue ("Demystifying Jung's 'Archetypes' with Embodied Cognition") argues for a reexamination of the clinical and neuropsychological relevance of Jungian archetypes. This assertion is examined with respect to the evidence Goodwyn provides as well as in the larger context of cognitive science as it is applied to theories rooted in past models of cognition. [ABSTRACT FROM AUTHOR]

The possibility of non-regressive adult play therapy as a treatment for bipolar artists is explored via the peculiar case of the poet Hilda Doolittle (H.D.), analyzed by Sigmund Freud in Vienna in the early part of 1933. Notes kept by H.D. during the analysis, a 1944 memoir for a London periodical, and her collected letters form a case study. Freud is shown to abandon psychoanalytic treatment for H.D. in favor of a play therapy based in the psychology of Alfred Adler. The myth of the twins Artemis and Apollo illuminates the deep structure and dynamics of her treatment. An examination of her first session and four subsequent dreams shows a brother-sister transference that initiates the mother into the sibling hoard as the healing factor. Empathy, regression, and interpretation are eschewed in favor of spirited play, culture creation, and a cooperation of consciences. A quick comparison with Jung's individuation shows deep parallels in the two cases. The political intolerance of the Jungian community toward Toni Wolff seems to be the major obstacle in the development of this otherwise promising approach to treatment for creative personalities. [ABSTRACT FROM AUTHOR]

Jung's view of God as a unity of Christ and Antichrist was rejected by Western theological circles, but a convergence can be found in Chinese Buddhist thought. Both Jungian psychology and Tiantai Buddhism believe that evil is intrinsic to the nature of God/Buddha, which is actually a manifestation of human nature. Only a God/Buddha with a paradoxical and antinomial character could provide a logical explanation for the paradox of the existence of evil and a Supreme Being. And both suggest that for the well-being of the human psyche, people should recognize evil and integrate it into a pursuit of good. [ABSTRACT FROM AUTHOR]

Audrey Punnett interviews Andreas Schweizer who served as president of the Psychology Club Zürich from 2006 to 2022. They discuss his introduction to Jung through sandplay as a teen and then delve into the history of the Psychology Club, its founding as a consequence of Jung's separation from Freud, the early members who influenced the Club, membership requirements, challenges it has faced over the years, including a renovation of the house itself at Gemeindestrasse 27. Not only are there lectures and other events at the Club, but also it provides a community for Jungians. [ABSTRACT FROM AUTHOR]

1. Introduction: Some mystical texts narrate spiritual and mystical experiences with strange and cryptic expressions, and these transcendent experiences are only articulated in symbolic language. With the discovery of the collective unconscious by Carl Jung and his theories on dream interpretation, researchers have paid more attention to the relationship between symbolism and psychology, as well as the deeper layers of the human mind. Jung believed that archetypes present in the unconscious appear manifest symbolically in dreams; therefore, the dreams and revelations of mystics can also be seen as manifestations of human myths and archetypes from Jung's perspective. The "Badwo-Sha'n" treatise" which is an autobiographical account of the life of Hakim Tirmidhi and the dreams he and his wife had about him, symbolicly reflects the evolution and spiritual progress of this hadith scholar and the third century mystic. In this research, the authors attempt to show based on which of the Jungian archetypes these dreams can be interpreted, and how the mystical symbols in Tirmidhi's dreams align with Jungian symbolism. 2. Methodology: In this research, based on Carl Jung's "analytical psychology" approach, the dreams presented in "Badwo-Sha'n" treatise have been interpreted from an archetypal perspective. Jung believes that when we want to investigate the talent of symbolization, dreams are the best materials and symbolic expressions can be the individual or collective unconscious messengers; of course, Jung believed that individuals' dreams may have roots in mythological foundations or mythological cognitive units, which he calls "archetypes." Some of the most significant archetypes include "Self," "Anima," "Animus," "Persona," "Shadow," "Wise Old Man," "God," and "Death." Archetypes play a crucial role in shaping the collective unconscious and are transmitted from one generation to another. Reflections of archetypes or contents of the collective unconscious can also be observed in some secret mystical texts. The "Badwo-Sha'n" treatise is a relatively short description of Tirmidhi's condition by his own pen. A major part of this treatise, which appears to be the first self-written biography of a mystic, includes reports of Tirmidhi's dreams and those of others, particularly his wife's dreams about him; it has the ppotential of being interpreted from the perspective of Jung's archetyps and symbology. 3. Discussion: The dreams presented in "Badwo-Sha'n" treatise with symbolic and imaginative content, narrate the spiritual and mystical evolution of Tirmidhi. Familiarity with Jung's symbolism and the views of this great psychoanalyst shows that Tirmidhi's dreams have the capacity of Jungian interpretation. In analytical psychology, one of the most basic archetypes is "self". The process of individuality or realization-self, occurs when a person, on the way of his evolution, travels inside himself and in this journey gets to know the different dimensions of his personality, dimensions emerging from archetypes that exist in his subconscious. In one dream, Ahmad ibn Jibril sees Tirmidhi performing the Tawaf around Kaaba, which is a symbol of the mystic's achievement of individuality and his inner journey of conscious and unconscious unity. In another story, Tirmidhi's wife hears a voice in her sleep and sees Tirmidhi praying in a kind of alter surrounded by light. Tirmidhi's wife follows - anima/inner guide - the voice and reaches the gate of a palace full of light. From Jung's point of view, sometimes the unconscious guides us. Another archetype that appear in Tirmidhi's dreams is the "Wise Old Man" which psychologists consider to be the manifestation of the hero's concentration of his spiritual and physical powers. This archetype appears to the seeker in various forms and situations and guides him. In Tirmidhi's dreams, "prophet", "white-haired old man", "angel" and "Amir" are symbols of "Wise Old Man". "Shadow" is also another archetype which is a collection of raw and unformed feelings and desires, and the origin of human temptations and sinful tendencies, and appears in dreams and myths as an enemy, a magician, a deceiver, a dragon, a devil or a demon. In Islamic mysticism, knowing the self and fighting against it goes on from the beginning of one's spiritual practice to the end of one's life, and one of the symbols of the shadow is the commanding self (the inner devil) or external devils. Jung, in the journey of awakening the inner hero, considered the meeting with the shadow as the first stage of individuality and believes that the first layer that is discovered from the unconscious is the shadow. In a dream, Tirmidhi's sees a Wise old man, who prevents him from engaging in worldly affairs. Arif's drowning in worldly affairs is a symbol. 4. Conclusion: The dreams presented in "Badwo-Sha'n" treatise by Tirmidhi's are connected to the unconscious mind of this mystic and possess symbolic content that can be aligned with Jungian symbolism. Among the most significant Jungian symbols reflected in the narration of these dreams are the the process of individuality, the Self, the Shadow, the Anima, and the Wise Old Man. One manifestation of the process of individuality is the experience of traveling to Kaaba in Tirmidhi's dreams, which can symbolize his inner journey. Another archetype of Jung is the wise old man who appears in Tirmidhi's dreams in the form of the Prophet, the Old Man with White Hair, the Angel, and the Prince, guiding him through the difficult path of spiritual practice toward the ultimate truth. The Shadow is also another archetype that corresponds to the commanding self in Islamic mysticism and appears in Tirmidhi's dreams through symbols such as the commanding self (the inner devil) or external devils (worldly affairs). The Self, representing the deepest aspect of the dreamer's personality, also appears in Tirmidhi's dreams through symbols like plants, geometric shapes, rocks, birds, and trees. With guidance from these symbols, Tirmidhi must navigate through the challenges of spiritual practice and attain self-awareness. His wife also symbolizes the anima of the mystic and serves as his helper in recognizing his inner shadows and guiding him along his path. [ABSTRACT FROM AUTHOR]

This paper delves into the intricate realm of Shakespearean characters in love, employing a psychoanalytical lens to unravel the depths of their emotions, desires, and conflicts. Drawing on psychoanalytic theories, particularly those of Sigmund Freud and Carl Jung, this paper aims to dissect the subconscious motivations and psychological intricacies of characters such as Romeo and Juliet, Orsino and Viola, and other iconic figures. Through this analysis, the paper seeks to offer a nuanced understanding of how Shakespeare masterfully crafted characters whose emotional journeys resonate with universal human experiences. In addition to exploring the psychoanalytical aspects of Shakespearean characters' love, this paper also investigates the socio-cultural influences shaping their romantic dynamics. By examining the historical context in which these plays were written and performed, it aims to illuminate the ways in which societal norms and expectations intersect with individual psychology to influence characters' behaviors and choices. Furthermore, it analyzes how Shakespeare's portrayal of love reflects broader themes of power, gender, and identity, shedding light on the complex interplay between personal desire and societal constraints in Renaissance England. Through this multidimensional approach, it endeavors to provide a comprehensive examination of Shakespearean love that resonates with contemporary audiences while honoring the timeless brilliance of the Bard's storytelling. [ABSTRACT FROM AUTHOR]

In the study of Divan-i Shams-i Tabrizi, we encounter examples that have music, but they have no meaning. These examples, which some formalists call "za'um", have raised many controversies and challenges among scholars. One of the key issues is to understand the question of what the genealogy is and how it is based on what events occur in Rumi's life. In a leading research with a descriptive analytical approach, we will examine these issues by relying on Karl Jung's psychological thoughts. The main body of the paper is the psycho-psychological study of poetry from Rumi, which can be an example of za'um. The result of this study is the discovery of a close link that comes with the archetype of Dionysus in the midst of these verses and comes from the tragic events of Rumi's life. The events that have influenced the poems without meaning and musical in Divan-i Shams-i Tabrizi. Based on this, these verses of Rumi are rooted in the collective unconscious of the poet and the result of the manifestation of his archetypal Dionysian model. This manifestation took place after a tragic event. [ABSTRACT FROM AUTHOR]

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]

This paper celebrates the life and legacy of psychiatrist and Jungian author Anthony Stevens, who passed away at age 90 on July 13, 2023. It outlines Stevens's origins as a research fellow in Greece, where his work on infant attachment led to a lifelong dedication to establishing the biological and evolutionary foundation of psychiatry. It details his instrumental role in the debate about the theory of archetypes and describes the current state of the literature including the responses and reactions to Stevens's biological innatist position. The paper concludes with a career retrospective in which Stevens's major works are introduced and briefly described. [ABSTRACT FROM AUTHOR]

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Field theory as a concept entered scientific discourse in the midnineteenth century. Yet the essential features of a field long predate discoveries about the physical properties and behavior of matter. The paper briefly describes ancient esoteric precursors to scientific field theory, including the Hermetic tradition and archetypal astrology, before turning to twentieth-century sociological field theories and their elemental idea of subjectivity and intersubjectivity. Jungian psychology is a field theory, expanding the limits of sociology in important ways. The paper adopts a somatic archetypal perspective to argue that intersubjectivity, the basis of sociological and psychological field theories, is inadequate. Instead, depth psychologists should embrace intercorporeality, the more embodied, holistic field theory originating in the work of Husserl and Merleau-Ponty. The paper concludes with a discussion of nekyia to illustrate how an intercorporeal field theory can include the underworld in world mythologies. The inverted cosmic geography of one tradition, the Sámi, gives new meaning to numinous encounters with one's ancestors and spirit guides. Such encounters intertwine the subtle energy bodies of the personal and transpersonal worlds, a meeting one can imagine as soul to sole, not just soul to soul. [ABSTRACT FROM AUTHOR]

Despite the many essays that provide instructive tracing of Carl Jung's archetypes in Romantic literature (and elsewhere), critics have declined to examine the important implications and consequences of parallels between Jung's theory of artistic awareness and Romantic aesthetic ideology. This ideology finds expression in the language of Blake, Percy Shelley, Emerson, Coleridge, Wordsworth and others regarding artistic creativity, specifically its origins and aims, but especially the creative process itself. In this essay, I examine the way Jung samples Romantic ideas and imagery in his characterization of art and in his conception of the religious experience of the artist in the act of creation. In doing so, I suggest that attachment to popular (not always accurate) Jungian ideas about art has reinforced the continued acceptance of compelling Romantic myths about unconscious creativity. I argue that, in his essay "On the Relation of Analytical Psychology to Poetry" and other essays, as part of an effort to liberate modern conceptions of art from reliance on mechanistic views of the human mind, Jung impeaches the merits of the Freudian model tied to medical forensics and installs in its place a Romantic theory of art rooted in the idea of intuitive creativity. [ABSTRACT FROM AUTHOR]

The article centers on two novels by Italian writer Antonio Tabucchi--Requiem: A hallucination and For Isabel: A mandala. It analyzes the polysemic elements that constitute the symbolic construction of both works, supported by the main tenets of Jungian psychology and in particular the notions of coniunctio oppositorum, individuation, and journey of self-discovery. The investigation explores the relationship of Tabucchi's narrative with works by Ferdinando Pessoa and Herman Hesse. Homologies between the author's view of the self, cognition, human reality, and the formal structure of the novels are examined through the Bakhtinian notion of dialogical narrative and through his metaliterary and self-reflexive mode of writing. [ABSTRACT FROM AUTHOR]

Audrey Punnett interviews Sheila O'Handley about the mystical experience she had at the age of fifteen that began her journey into the religious life, first as a Sister of St. Martha, and later as a professed hermit in the Roman Catholic Church in first Newfoundland and then Nova Scotia, Canada. An introduction to Jung's work confirmed her mystical experience and led her into analysis and the process of individuation. She speaks of an informed living faith integrated with the wholeness of Jung's ideas. The interview explores the Trinity and the Assumption through Catholic and Jungian lenses as well as the power of dreams in announcing soul shifts and life changes. [ABSTRACT FROM AUTHOR]

The reasons for maternal infanticide have rarely been approached. The absence of analysis leaves plenty of opportunity to maintain the assumption that the infanticidal mother is a mad or bad mother. Examining a mother's possible motivations to kill her child from clinical, sociological, psychoanalytical, and political angles can decrease harm and perhaps help us to understand why maternal infanticide is an inevitable part of human life. Moreover, interpreting her act—asking, What does this mean?—can further illuminate what she needs. [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]

Argentine writer Jorge Luis Borges wrote as he read. He made note of important passages in his books to which he might refer later, listing page numbers and ideas in the endpaper pages. As director of the National Library of Argentina, he maintained this same practice with the library books that he read and returned to be reshelved. In 2017, librarians Laura Rosato and Germán Álvarez at the National Library of Argentina published Borges, libros y lecturas, a catalogue of Borges's marginalia and endpaper notes that they discovered in books in the national collection. These published notes confirm the extent to which Borges read Jung and found in books such as Psychology and Alchemy and Psychology and Religion a lexicon with which to map and describe his private cosmology. [ABSTRACT FROM AUTHOR]

This essay proposes a return to C. G. Jung's personality theories and argues in favor of their relevancies in the context of the COVID-19 pandemic and the unprecedented changes it produced to forms of socialization. Through a narratological analysis of survey data gathered by the author, this paper maintains that the adaptability, malleability, and complexity of Jung's psychic paradigms is what makes his theories of the personality current in the 2020s. The survey, distributed globally in the summer of 2021, consisted of open essay-style questions that encouraged participants' narrative orientation. Results are mixed and do not always follow type expectations (not all introverted participants thrived, nor did all extraverts struggle). Mixed results point to human variability, which Jung acknowledges even within types, and to the existence of multiple stories about the lived experience of COVID-19 lockdowns. Ultimately, I propose a post-Jungian, post-pandemic approach to the personality, which takes contextual factors into account, and I advocate a humanistic approach to Jung, which will result in a better understanding of human psychology. [ABSTRACT FROM AUTHOR]

Travel is an intrinsic aspect of human existence. From the first explorations of new territories to modern-day secular travels, the act of moving across spaces shapes individuals and societies. This paper looks into the theme of travel in Joseph Conrad's Heart of Darkness from the point of view of Jungian analytical psychology. It focuses on the impact of travel on the protagonist, Marlow. Drawing on Jungian concepts such as the unconscious, archetypes, active imagination, and synchronicity, we study the symbolic layers of Marlow's journey. We also touch on the historical evolution of travel, modern perspectives on secular travels, and the spiritual dimension of inner journeys. Marlow's expedition through the Congo River highlights the intricate interplay between the inner and outer realities emphasizing the broader human quest for self-discovery and growth.

Background: Archetypes are the most important manifestation of the collective unconscious in mankind, which appears in the form of psychological complexes in the individual. Complexes cause psychological problems in the individual, and the heroic journey is one of the ways to cure it, which has not been done much research in this field. Aims: This research was conducted with the aim of compiling the heroic journey of a woman's life based on psychological complexes in the psychoanalytic theory of Carl Jung. Methods: The research method was qualitative, with a thematic analysis method. The statistical population of Jung's works and their sequels and the use of the opinions of experts familiar with psychoanalysis have been done. The means of collecting information, reading texts, and using the opinions of experts in the form of targeted sampling in such a way that until no new information is obtained, the sampling was completed. For data analysis and theme analysis and network drawing, MaxQDA2020 software was analyzed with open and axial coding. Then, in order to match the complexes with the archetypes, a content validity questionnaire was given to four experts familiar with The concepts were analyzed psychoanalytically. Results: The results were analyzed by CVI in Excel and the masochist complex score was less than 0.7 based on the Lavesche index, which was removed. Finally, matching with 28 archetypes and 15 archetypes was confirmed. Based on the findings of the research, the results show that 28 identified complexes and 15 archetypes were extracted from the core of the complexes, the extracted archetypes caused the compilation of the journey of a woman's heroism, which were categorized into three stages of the journey of heroism by analyzing the hidden meaning approach. The journey of a woman's heroism consists of 15 archetypes, which can treat 28 mental complexes, were compiled. Finally, the stages of the championship journey were divided into three parts, preparation for the trip, travel, and return from the trip. Conclusion: Each archetype, as a behavioral and personality pattern, consists of several complexes that interact with each other and shape the individual's personality and behavior. Based on these findings, in the treatment of complexes, related archetypes can be used for each complex. According to the presented classification, in each of the three stages of travel preparation, travel, and return from travel, different archetypes are used for the heroine.