Archetypes

RESUMEN: En la sociedad la diferencia entre los sexos se tradujo ideológicamente en un lenguaje binario y jerarquizado, donde el arte tuvo mucho que decir, ya que a través de sus creaciones el artista buscó siempre un término medio positivo que reconcilió lo masculino y lo femenino del ser humano. De esta manera los creadores presentaron lo femenino como un poder que no fue sino corrompido por la razón y que tuvo una importante relación desde tiempos ancestrales con la mujer, el arte y el matriarcado, frente al racionalismo patriarcal que ha sido dominante en todas las facetas del ser humano llegado este dominio hasta nuestros días. En el pensamiento del individuo y en su esfuerzo social, habría comenzado a surgir los signos precursores de una edad subjetiva, donde emergería un idealismo subjetivo, que se traduciría en una realización del individuo en la satisfacción de su más íntima naturaleza estética e intuitiva tratando de supeditar a este fin su existencia. Su verdadero propósito será el descubrimiento de una verdad más profunda, donde el poder de lo femenino y el arte estarían muy presentes. ABSTRACT: In society the difference between the sexes would ideologically translated into a binary language and hierarchical, where art would have much to say, and that through his creations the artist always seek a positive average they reconcile male and female of human being. In this way the creators presented the feminine as a power that would not have been corrupted by reason and logical thinking and would have an important relationship since ancient times with women, art and matriarchy, against patriarchal rationalism that has been dominant in all facets of the human being come this domain until today. In the thinking of the individual and social effort it would have begun to emerge harbingers of subjective age, which emerge a subjective idealism, which would result in a realization of the individual in meeting their most intimate aesthetic and intuitive nature trying to subordinating to this end its existence, its real purpose is the discovery of a deeper truth, where the power of the feminine and art would be very present.

Kitaplarınızda okuduğum kadarıyla siz evrime inanıyor ve dinle bağdaştırıyorsunuz?

Evet. Tekâmül (Evrim) görüşü, türlerin yaratılması inancına aykırı değildir. Bugün evrim artık nazariye olmaktan çıkmıştır. Dinî kitaplara aykırı da değildir, bilimsel bir meseledir. Ben 200’e yakın fennî ve dinî delil gösterebilirim. Bilakis böylece Allah sisteminin ekonomik işleyişini, sanatını ve gücünü gösterir. Kâinat mana üretmek için yaratılmış; bu da ancak evrim fiiliyle mümkündür. Evrim hiçbir şeyin birden bire olmaması demektir. Hayatın en büyük karakteri yavaş yavaş olmasıdır. Yaratılıştaki evrime dikkat edersek, bunun bir plan ve program olduğunu anlarız. Mesela, benim avucumda bir yumurta, kırk sene kalsa civciv olamaz. Fakat Allah’ın bir avucu olan ekolojik ortamda saniyede kırk milyon civciv çıkıyor. Hocalar ikisini birbirine karıştırmamalı.

Ancak ispatlanmış olsaydı teori denmezdi. Hala ispatlanmamış bir kuram bu. Aksi halde hala tartışılmazdı. Üstelik evrim lehine getirilen deliller kadar aleyhine de hala pek çok delil var. Sadece teorik olarak, salt aklen veya mantıken mümkün görünüyor? Olgularla doğrulanmış değil? Bu teoriyi şimdiki haliyle kabul etmek bilimsel bir yaklaşım değil, olsa olsa bir inançtır.

Bence Evrim “iki kere ikinin dört etmesi” gibi kesindir. Bir şeyin var olabilmesi için evrim sürecinden geçmesi lazım. Evrim sürecinden geçmeyen hiçbir maddi varlık yoktur. Bir de varlık Diyalektik sürece muhtaçtır. Gelişme ve evrim zıtların birlikte deviniminden ortaya çıkar. Sistemin kuralıdır bu. Bugün yerinde sayan hiçbir hücre, hiçbir atom, hiçbir varlık yok. Evrime göre her şey sürekli yenilenir. Mesela, atomun planı, projesi ilm-i ilahiden, enerjisi kudret-i ilahiden gelir. Kudret zaten enerji demek.. Sürekli hareket ve gelişme içinde olması da, ilâhi iradeden geliyor. Dinin de temeli irade sıfatıdır ki, insan ancak din ile gerçek âdem olmuştur, evrimini tamamlamıştır. Demek ki, âdemiyet bu gelişme ve kalkınma sürecinin tümü demektir. Her şey sürekli yenilenme ve gelişme halindeyken ve her şey sürekli başka bir şeye dönüşmekteyken, canlılar için de bu geçerlidir. Her şey giderek mükemmele doğru gidiyor. Karşı çıkanlar dini duygularını koruma psikozu içindedirler. Veya hastadırlar veya siyasi amaçları elvermiyor. Bugün İslam Âleminde bir problem var. Bir yanda Kur’anın açıklanması gereken iki binin üzerinde müteşâbih ayeti var; öte yanda bilime dayanarak bunlara yorum getirilmiyor. Böyle olunca hurafeler kendilerine yer buluyorlar. İslam Âlemi evrimleşmekten geri kalıyor. Evet, İslam Âlemi, bilimi İslam’ın ilk yüzyıllarındaki gibi yakalarsa, uyanışa geçer. Demek din ve bilim temeli üzerine bir edebiyat basamağı kurmak lazım ki, gerçek âdem olalım. Anarşizmden, manevi yamyamlıktan kurtulalım.

ÖZ 
Analitik Psikolojiye hayat veren Carl Gustav Jung, İsviçreli bir psikolog ve psikiyatristtir. Bu
kuramıyla psikoloji tarihindeki üç büyük şahıstan(diğerleri: Freud ve Adler)  biri olmuştur.
Jung’ un bu dev kuramını incelemek oldukça kapsamlı ve büyük uğraş gerektirir. Çünkü
kuramının alanı çok geniştir. Bu çalışmada Jung’ un hayatından edindiği izlerle oluşan
Analitik Psikolojinin ortaya çıkış süreci, kavramlarını, gelişimi, gelişmesine katkı sağlayan
kişi ve kuramlar incelenmiştir.
Anahtar Kelimeler: Analitik Psikoloji, Carl Gustav Jung, Bilinç, Kolektif Bilinçdışı, Kişisel
Bilinçdışı, Psişe, Arketip

Fire, flames and smoke are central to mysticism in cultures around the world. From Zoroastrianism in Persia to the Ta’aroa religious order in Polynesia, fire is an archetype of mystery and irony. It can injure and destroy yet we rely on it to feed us. We say that one has endured a "trial by fire", that one is "baptized by fire", that strong character is "forged in fire" until one is proven worthy, or that one is "tempered by fire" like steel after enduring hardship and coming to understand and master its lessons.

’Ao’ao-māra’i-’ā (the bright side of the full moon) and his wife, Māhu’i (to discover something new) are considered the father and mother of fire in the Ta’aroa culture of the Society Islands, according to researcher and author, Teuira Henry. She describes the role of fire as a purifier making earthly elements worthy of the presence of the universal gods of nature.

She also describes the elements that maximize the potential for interaction between mortal and spiritual beings when fire is lit using a particular wood, ’atae, for ceremonial purposes on the marae, The crimson red petals of the flower of the ’atae resemble flames of an intensely hot fire accentuating the role of fire as a divine element.

This paper was authored by Dr Keao NeSmith for Tahiti Islands Travel (https://www.tahitiislandstravel.com/) January 2021 Newsletter in English and translated into French: https://www.tahitiislandstravel.com/newsletters

Although Jung made a connection between his concept of the archetype and mankind's evolutionary history throughout his career, he remained notoriously tight-lipped about his own specific views on evolutionary theory. In the final years of his life, however, he finally went more into detail about this important topic, putting forward a most thought-provoking idea: the notion that synchronicity, or meaning ful coincidences, had a role to play in the way evolution took shape. As I will argue in this paper, Jung's comments on this topic present clear evidence that he did not think primarily along Darwinian lines, as has recently been claimed; rather, I will argue that he adopted what Wolfgang Pauli referred to as a third position-one that goes beyond both Darwinism and Lamarckism. This third position is strongly informed by the notion that evolutionary changes are not random but meaningful, and that synchronicity has a role to play in the way evolution takes shape. This suggests that Jung is not so much a kindred spirit to Neo-Darwinian evolutionary psychologists, but a thinker who is much closer in his intuitions and affinities to several evolutionary thinkers who have been influential in the field of transpersonal psychology, most notably Ken Wilber.

The primary purpose of this article is to analyze the government-debt crisis in Greece between 2008 and 2015 from a historical and psychological perspective, utilizing Jungian theory of archetypes. Thus, the proposed archetypes, responsible for the internal and external culture clashes, are the Intellectual, the Merchant, and the Patriarch. The secondary purpose of this article is to draw an analogy between the happenings of the Greek government-debt crisis and the current chaos of coronavirus era and offer several lessons that may help to change the course of the history, or at least individual perception of it.

Archetypal Expressionism lies between the two major paradigms of contemporary art, the figurative and the abstract. It represents the spiritual quest for common cultural roots beyond the tragic accidents of history. It is a fascinating approach to rediscovering that Tahiti of our collective memory through the shapes and the exotic figures of our inner lives. It is art suspended between the real and the imaginary, and it needs rigor and mystery, arithmetic and lyricism, simplicity and paradox.

Why are people loyal? How do groups form and how do they create incentives for their members to abide by group norms? Until now, economics has only been able to partially answer these questions. In this groundbreaking work, Paul Frijters presents a new unified theory of human behavior. To do so, he incorporates comprehensive yet tractable definitions of love and power, and the dynamics of groups and networks, into the traditional mainstream economic view. The result is an enhanced view of human societies that nevertheless retains the pursuit of self-interest at its core. This book provides a digestible but comprehensive theory of our socioeconomic system, which condenses its immense complexity into simplified representations. The result both illuminates humanity's history and suggests ways forward for policies today, in areas as diverse as poverty reduction and tax compliance. professor paul frijters is a professor of Economics at the University of Queensland. He was elected "Best Economist under 40 in Australia" by the Economic Society of Australia for 2009-2011, and his work consistently ranks in the top 4 percent of downloaded and cited economic research in the world. Professor Frijters has undertaken research in a wide variety of fields, including happiness and well-being, migration in China, behavioral economics, and health economics. The findings of his research feature regularly in the global media. gigi foster is a senior lecturer in the School of Economics within the Australian School of Business at the University of New South Wales. Her research focuses primarily on decisions related to human capital, with a particular emphasis on social influence and behavioral economics.

This paper outlines the fundamental precepts and practices of East-West spiritual counseling, which combines therapeutic approaches and theoretical frameworks found in Jungian depth psychology and Tibetan Buddhist Tantra. Emphasis is given to fostering direct, experiential contact with manifestations of the sacred, and imaginal exercises such as active imagination play an essential role in this process.

Fiction written for a younger audience tends to correspond to the Monomyth, or Hero’s Journey, as defined by Joseph Campbell, and this is doubly true of fantasy-based YA and children’s literature, wherein the crossing of the threshold tends to be represented by the literal transportation of the protagonist to some kind of alternate world or reality. This paper argues that these narratives – while conforming to monomythical structures and tropes – primarily represent the fulfilment of the first chapter of Campbell’s pattern, and the development of a transitional identity for its protagonist. This analysis is supported through a dual methodology. Firstly, through close readings of three key YA texts – Coraline by Neil Gaiman, A Monster Calls by Patrick Ness and A Song for Ella Grey by David Almond. These have been chosen both for the contrasting ways in which they approach folkloric and mythological tropes and storytelling patterns, and because of the differing ages of the novels’ protagonists. This enables me to explore the different impacts of the transitions in question on young people at different stages of their emotional development.  Secondly, the stages of the Hero’s Journey itself are contrasted with each protagonist’s progress, and, in this way, the Monomyth is shown to be open-ended in nature.

Il est étonnant de voir à quel point les critiques que Wittgenstein adresse à Freud-alors que sa connaissance du corpus freudien ne se limitait pourtant qu'à l'Interprétation des rêves-, peuvent préfigurer les différentes " hérésies " et relectures de la psychanalyse post-freudienne. En effet, les héritiers du psychanalyste viennois, face à l'épineuse difficulté des analyses sans fin et devant alors repenser tout à la fois la question du transfert et celle du statut de l'inconscient, vont être peu à peu amenés à rompre avec ce que d'aucuns ont pu appeler le " familialisme " de Freud, commandé en sous main par l'insularité réifiante de sa notion d'inconscient et son substantialisme corrélatif-amenant ainsi, peu à peu, la perspective d'un inconscient collectif. De même, ce qui sera principalement remis en cause par les différents courants inspirés du freudisme, c'est bien la surdétermination phallique qui amène insensiblement à penser l'inconscient selon un modèle mécaniste, organiciste et, finalement, déterministe-qui, pour Freud, était la clef d'une méthode réellement scientifique. Toute la critique de Wittgenstein est justement dirigée contre cet idéal scientifique qui mine de l'intérieur la découverte freudienne. En voulant rendre raison de l'inconscient par un causalisme strict, Freud s'est rendu aveugle à la véritable portée de sa découverte, à savoir avoir su dégager une nouvelle grammaire, faire émerger des formes de représentations inédites, permettant au sujet, par leur syntaxe, de trouver une raison à son mal, et non plus une cause.

Within the broad historical context in which transmedia has been practiced and studied, David Bowie and Floria Sigismondi are instructive for their transformative approaches toward creating art across media, and for their alchemical process. As a collaborative team, their process is driven by an engagement with surrealist strategies of estrangement and analogical composition and a propensity for play. Their distinctive signature styles traverse mediums, space and time; in ways that move through and beyond narrative. Through an analysis of selected music videos, this chapter examines the transmediality of Bowie and Sigismondi’s oeuvres. By firstly exploring Bowie’s conception of himself as a medium, along with his persistent threads of ‘loose continuity’ across media and time, the author then examines the intersection of Bowie’s transmedial process with Sigismondi’s treatment of time as a medium. Drawing on the tenets of surrealism, along with the concepts of dialogic world-building, hauntology and ‘Gesamtkunstwerk’, the author proposes that for artists such as Bowie and Sigismondi, ‘transmedia surrealism’ may provide a more appropriate conceptual lens than the currently popular lens of transmedia storytelling.

In the article the spiritual and educative activity of Kyiv-Mohyla academy in the context of metahistory in light of the main archetypes of the Ukrainian culture (archetype of word, archetype of the ethical value of free individuality, archetype of sophity and archetype of heart) is examined.

Lectures in the history of culture and civilization, urban culture, culturology, docu mentation science and cross courses in archaeology and heritage. His studies on the geometry of liquids and stationary waves have led to the elaboration of his own theory-The Universality of SphereVortex Principle and have been published in several editions. , , "As works of art, the drawings of Gabriel Kelemen have an exquisite aesthetic quality. They are beautiful in themselves as language, technique, composition and dynamics. Their symbolism aims the mystical."
Carol David, Professor at the West University of Timisoara, Faculty of Arts and Design.

Before we get to Eliade"s readings of specific kinds of myth or ritual, we should linger awhile on the initial claim that grounds those readings: "the symbol, the myth, the rite, express, on different planes and through the means proper to them, a complex system of coherent affirmations about the ultimate reality of things, a system that can be regarded as constituting a metaphysics." (p. 3) In other words: even though the "archaic" myths Eliade"s looking at are not identical to the metaphysical systems of later philosophical accounts of the world, they are doing similar kinds of work. Even if they aren"t using words that translate to "being" or "reality," they are talking "about" being and reality.

Imagination provides an alternative mode of articulation in the psychotherapeutic setting. Engaging autonomous aspects of psyche places psychotherapy in creativity, thus leading to an authentic and meaningful subjective experience of soul. This thesis utilizes hermeneutic and heuristic research methodologies to explore the phenomenon of manifesting the psyche by means of the imagination. The author engaged in active imagination in an attempt to materialize the immediacy of an archetypal encounter related to the cut-off and marginalized aspects of the feminine psyche. Using the process of creating photographed imagery in order to understand the phenomena of the dark feminine and the imaginal encounter, the author found that the materialized image exerts influence upon the archetype or archetypal constellation.

This study used frame analysis to explore gendered frames and archetypes in the news coverage of two mass shootings, in which both suspects were White, middle-class university professors: Amy Bishop at the University of Alabama and George Zinkhan at the University of Georgia. Three people were killed in each of the shootings, but the amount of coverage on Bishop exceeded by about four times the amount of news about Zinkhan—a difference whose magnitude can hardly be explained
only by the circumstances of the shootings. Although the female professor committed murder in a professional setting, due to dissatisfaction with a career outcome, the coverage focused on her personal life and alleged psychological instability, in line with the archetype of the “Female Monster.” By contrast, the coverage of Zinkhan’s crime, committed in highly personal circumstances—the murder of his wife and two men at a picnic—fit a patriarchal, Othello-like archetype of a man embroiled in a crime of passion, and focused mostly on his successful career, lacking an investigation of past abusive behavior that may have preceded the murder. The news coverage serves to exemplify the societal discourse on women and men who kill.

The future is by its very nature uncertain and unknown, and only by discussion and debate regarding how the future may develop can we adequately prepare for what may lie ahead. A collaborative scenario development process was developed with the European Construction Institute (ECI) Industry Futures Task Force. This involved investigating and debating the range of issues and factors that might impact upon the European construction industry in the next couple of decades, which resulted in the development of four future scenarios for the ...

O estudo tem como objetivo descobrir qual arquétipo é comum entre as cinco maiores marcas de luxo através da análise de suas redes sociais. Trata-se de uma pesquisa exploratória de metodologia netnográfica em que foram estudados os conteúdos audiovisuais das mídias sociais da Louis Vuitton, Chanel, Hermès, Gucci e Rolex. O intuito é compreender as semelhanças entre as marcas e determinar qual seria o storytelling universal que caracteriza uma marca ser de luxo. O resultado obtido foi de que o arquétipo do governante é o mais plausível diante suas paridades conceituais percebidas também na linguagem das marcas em seus respectivos ambientes online.

The Jungian analyst Ann Shulgin, wife of the chemist Sasha Shulgin, discoverer of the psychoactive qualities of MDMA, talks of her psychotherapeutic practice of using MDMA to facilitate the first step of C.G. Jung individuation process, the meeting with the Shadow.

A purpose for this study is to explore creative interventions that can help women on their individuation path, based on personal exploration. This exploration utilizes the Jungian concepts of myth and archetypes, in connection to Jean Shinoda Bolen's work (2014) on archetypes and myths of seven Greek goddesses. The paper applied an existential and transpersonal therapy approach in addition to Carl Jung's psychoanalytic theory as a framework when analysing the artwork. Internal pathways of the self were explored through feminine archetypes of the Greek goddesses, art making and analysis of the artwork. For this arts-based inquiry researcher used Moustakas (1990) design, methodology and applications for heuristic research. Data was collected and analysed over seven weeks as a response to the archetype and it included; active imagination, dialoguing, making art, archetypal reflectivity, writing poetry and a journal about the process. Every week included theoretical and practical exploration of one archetype. Processes included understanding the persona, understanding the duality of each archetype, and a self-exploration of shadow work. Exploration used the sacred power of the feminine, rituals, myths, creativity and its transformative power in the process of becoming whole and to promote ownership of an individual's whole Self, and the balance of self-work and internal process. Findings from this study indicate that this process can help adult woman with: self-awareness and self-discovery, individuation, and feminine identity development.

A comparative analysis of Jungian depth psychology and Tibetan Buddhist Tantra reveals a fascinating array of similarities, which are united in their most essential form through the manner in which mythic imagery is employed in both disciplines as a powerful agent of inner transformation. Various forms of creative engagement with sacred symbols-including mandalas-are enacted in each tradition as a vehicle through which latent spiritual potentialities can be brought forth into consciousness, a process that is greatly enhanced through a number of dynamic artistic techniques and contemplative practices. It should be emphasized from the outset that both disciplines represent complex systems that include sometimes widely varying notions of a higher spiritual order or ultimate reality. However, despite any differences in ontological postulations or metaphysical precepts, they share a number of surprising and sometimes striking characteristics. For example, both emphasize the mind, or psyche, as the foundational basis of existence and the primary means through which liberation (in the tantric tradition) and psychic wholeness (as in Jungian psychology) are pursued. Each also emphasizes the realm of dreams (e.g., dream analysis in depth psychology and dream yoga in Tibetan Tantra), contemplative and creative visualizations (such as the focus on wisdom figures and sacred symbols), and an assortment of other practices that are designed to effect a reconciliation of opposites and the attendant union of masculine and feminine principles. Their respective methodologies thus represent essential avenues through which to deepen an understanding of human nature's far-reaching spiritual capacities while demonstrating the vital role that mythic imagery-and in particular the mandala-plays in the process of healing and inner transformation.

Since the late 19th century, when the “new science” of psychology and interest in esoteric and occult phenomena converged – leading to the “discovery” of the unconscious – the dual disciplines of depth psychology and mysticism have been wed in an often unholy union.  Continuing in this tradition, and the challenges it carries, this volume includes a variety of inter-disciplinary approaches to the study of depth psychology, mysticism, and mystical experience, spanning the fields of theology, religious studies, and the psychology of religion.  Chapters include inquiries into the nature of self and consciousness, questions regarding the status and limits of mysticism and mystical phenomenon, and approaches to these topics from multiple depth psychological traditions.  About the editors:

Thomas Cattoi is Associate Professor of Christology and Cultures, Jesuit School of Theology at Santa Clara University and Graduate Theological Union, USA;

David M. Odorisio is Director of The Retreat at Pacifica Graduate Institute, USA, and adjunct faculty in Pacifica’s Mythological Studies graduate program.

This article takes the “toxic masculinity” (TM) trope as a starting point to examine recent cultural shifts in common assumptions about gender, morality, and relations between the sexes. TM is a transculturally widespread archetype, or moral trope about the kind of man one shouldn’t be. Revisiting my early fieldwork on transnational sexualities against a broader analysis of the historical, ethnographic, and evolutionary record, I describe the broad cross-cultural recurrence of similar ideal types of men and women (good and bad), and the rituals through which they are culturally encouraged and avoided. I argue that the TM trope is normatively useful if and only if it is presented alongside a nuanced spectrum of other gender archetypes (positive and negative), and discussed in the context of human universality and evolved complementariness between the sexes. I make a case for the importance of strong gender roles, and the rites and rituals through which they are cultivated as an antidote to current moral panics about oppression and victimhood.  I conclude by discussing stoic virtue models for the initiation of boys, and argue that they are compatible with the normative commitments of inclusive societies that recognize gender fluidity along the biological sex spectrum.

The phenomenon of The Lord of the Rings began to be popular in 2002, mainly for its movie version, directed by Peter Jackson. Behind the success, however; is the master of writing, J.R.R Tolkien, who wrote this epic fantasy in 1954. He created the world so monumental, that it can be compared to the epic of Homer´s Iliad and Odyssey with its own mythology and history. It is a separated universe that has its own theology, myths and geography, it is full of mystical creatures, different races, many languages and dynamical creatures. In one of his essays, On the Fairy-Stories, Tolkien stated: “From my childhood, the misery of my own lovely country had always worried me, it didn’t have any fables, not of the quality, which I saw in the legend of other countries. There were the Greek, Celtic, Roman, Finnish, Scandinavian but not the English ones.” In his later writings he extended his words: “Once I had the intention to put together a work with the connected fables, from the cosmological ones to the fairy-tale stories, which I could dedicated to England, my country.” (Tolkien according to Day 1995: 5).  We can assume that The Lord of the Rings is an integral work and it is rich for the symbols that can be interpreted from the religious perspective. In this essay I would like to focus on the character of Gandalf and how he can be viewed from the point of Christianity.

There are moments in the lives of nearly all human beings in which everyday human perception gives way to encounters with miraculous phenomena that cannot readily be explained. Often these experienceswhich may arise through the presence of discarnate entities, the emergence of spontaneous visions or intuitions, or through powerful, transformative dreams-leave a profound and lasting effect. It was just this kind of miraculous encounter that was experienced by the author in Tibet back in 1996, an experience that is given a heightened sense of meaning when examined through the lens of Jungian depth psychology and Tibetan Buddhist Tantra. The event in question occurred whilst I was travelling as part of a small, overland expedition that had left the capital of Lhasa en route to the ancient city of Kathmandu, Nepal. One evening, whilst sleeping at Rongbuk Monastery near the base of Mount Everest, I awoke in the middle of the night and instinctively found myself drawn up a neighbouring hillside where, upon reaching the top, I encountered the undeniable presence of an utterly vast feminine entity that seemed to blanket the sky above. Her being exuded tremendous power, depth, and sensitivity, and at that moment I felt that my mother might have passed away and that her expanded spirit was now visiting me. However, when I put this question to the sky I received no reply, and later I would learn that indeed my mother was still alive, which draped this profound experience in mystery. What, then, was this immense and unfathomable entity, and how, though invisible, was she able to exude such power?

Jung’s archetypes have been subject to numerous research studies. The trickster is an aspect of the shadow archetype in its negative traits, representing the shadowy sides of flexibility, fluidity, wit and ingenuity. The trickster is viewed as an embodiment of contradictions and dualities and is associated with a force which serves as a balancing agent, challenging convention. The author reflects on the trickster archetype and its implications in the life of Michael Jackson, an American leader in the music industry, who became one of the most famous pop icons in the world, the “King of Pop”. By reflecting on his life development and on selected outstanding events, the author explores the way in which the trickster archetype affected the success and failure of the star. This chapter offers an analysis of the moves of Michael Jackson within the context and expression of the trickster archetype and his appeals to overcome boundaries of race, gender, generation and culture flexibly and fluidly with ingenuity, creativity and positive leadership. In the end, however, it is assumed that the strength and power of the trickster archetype active in this celebrity’s life led to failures and ultimately to his premature death. It is argued that the trickster archetype needs to be recognised, seen, acknowledged and understood in its depth to maintain the success of the leader or to transform leadership stories from those of failure to stories of success.

Analitik Psikoloji’ye (çözümlemeci ruhbilim) göre, arketipler kolektif bilinçdışındadır. Bunlar psişenin yapısal gücüllüğünü kurgular ve zamanla gelişim gösterir. Zaman zaman bireyin geçiş ya da bunalım dönemlerinde özgür kalırlar ve ruhsal anlamda savunma, denge ve gelişim işlevleriyle hareket ederler. Bir arketip, biçiminin özgür kalması durumunda, simge ve görüntü biçimini alır ve karşıtlıkların birleşmesiyle hareket eder. Carl G. Jung’a göre, bireyleşme tümüyle simgesel bir durumdur. Sinemanın etkili bir ruhbilimsel araç sayılmasının nedenlerinden biri de bu olabilir. Sinemanın kurgusal bir düşleme dayandırıldığından hareketle, biçimsel ve yapısal konumda simgesel bir durum, kendi kişisel ve kültürel ruhsal durumumuza eşdeğer bir anlam yaratabilir. Ruhbilimsel film çözümleme, filmdeki gizli mitolojik unsurların ve simgelerin anlaşılmasını esas alan bir yaklaşımdır. Bir filmde, arketipsel kalıplar, mit ve simgelerin belirlenerek birbirleri ile ilişkili olarak ele alınması, filmdeki ruhbilimsel izleklerin ortaya çıkarılmasını sağlayabilir. Bu çalışmada, bireysel arketipler -persona, gölge, anima-animus ve benlik- kavramsal olarak ele alınacak ve bu arketiplerin mitolojiye, edebiyata, resim sanatına ve özellikle sinemaya yansımaları ruhbilimsel kuram temelinde incelenecektir.

"This study gathers and interprets the earliest extant references to architects in ancient Greek philosophy, as found in select works of Plato and Aristotle.  Throughout this review, Plato and Aristotle [are] shown to consistently present architectonic agents as exemplary civic and intellectual leaders, acting in awareness of their own (and others’) limits, with knowledge of the most appropriate archē, and with a view to the most comprehensive aims—the common good. This discloses an alternative and more accurate etymology of architects: not as master-builders but as leaders and makers of beginnings (archai). The aim of this essay has been not only to rediscover the discursive beginnings for a renewed philosophy of architecture, but to suggest how these philosophical 'archai' might help present-day architects reimagine the full relevance of their still contested role."

The Red-Haired Woman (2016) by Orhan Pamuk mirrors the east-west dichotomy by father-son relationship. The author integrates the narratives of King Oedipus and Rostam and Sohrab in the nucleus of the text and the protagonist's experiences; thereby, he not only brings a dual approach to the question of becoming an individual but manifests the inevitability of fate via myths turning into reality. Pamuk's literary modus operandi in the novel lets coincidence find a palpable meaning and become the repetition of past incidents. Carl Gustav Jung's concepts of collective unconscious and archetype, in this respect, shed considerable light on the ways in which Pamuk's characters are led by some collectively shared entities. According to Jung, every individual possesses some reflexes, tendencies and instincts shared by all humanity and stored in the very depth of human mind. Jung argues that collective unconscious, being of primitive and universal quality, appears in dreams and myths and latently influences the way man thinks and behaves. Cem Çelik, the protagonist of The Red-Haired Woman, acts so as to exhibit this holistic influence particularly in terms of father-son relationship; to a great extent, his experiences are presented as recurrences of historical/mythical situations and occurrences that have been repeated throughout human history with cultural changes and manifested in myths. Hence, this paper aims to elucidate Pamuk's use of myths and discourses of patricide/filicide in The Red-Haired Woman through Jungian perspective.

En este artículo presento mi trabajo en educación artística a partir de los sueños y el rastreo en el imaginario interno. Los sueños son fuente de creatividad, nos ayudan a vencer estereotipos, a través de ellos nos conocemos mejor, sintonizamos internamente.
Presento mi línea de trabajo con los sueños y la observación y análisis de una selección de discursos oníricos de mis estudiantes junto con obras pictóricas y creaciones artísticas visuales también realizadas por participantes en mis talleres.

Web-like mycelium fungal networks under our feet are likened to the cyberweb structure and behavior of the Internet.  Mythology, film, and pop-cultural symbols are utilized to explore the universal impulse to create network like shapes, which reflect the eternal connective drive of the cosmos.

In what ways do we find and create meaning in our post-modern era? How do we use existing frameworks to engage in new debates, both in style and in content, on what it means to exist in the 21st century? These are the main questions this paper aims to answer, analyzing the Jungian, Gnostic, and existential themes in the video game 'Genshin Impact' (2020) and the implications they pose on the future of myth and philosophy in pop culture.

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Sarah Waters’ Affinity (1999), set during the height of Victorian Spiritualism, consciously plays with Victorian truisms to subvert our expectations of class and gender roles, and retrospectively explore Victorian taboos of female power and sexuality. Lower class Selina Dawes and Ruth Vigers take advantage of the relatively liberal space of the seance to make 'unnatural' border crossings, using the archetype of the Victorian 'Angel' to hide their 'Monstrosity.' This paper argues that the  Mermaid is a useful image for re-examining placed on women by men in that era. As a contemporary female writer, Waters subverts these normative models, and in doing so reveals the complexity and hidden talents of women who, in their own time, were unable to outwardly voice their desires, or actively seek power.

ABSTRACT
The world as a whole is already full of corruptions, especially when looking at the human rights and equality. From birth till death, people teach generations what is right and what is wrong, but never ask what's really right or wrong, without depending on standardizations. What is meant here is, that when a child is born, his family teaches the child rights and wrongs and let him live with the principles he learns for the rest of his life. Then, the society even decides what his or her religion is going to be. These standardizations or stereotypes appear as 'archetypes' from the time of Plato to this century. While these archetypes can change from time to time, they also become the representatives of human beings that shows the characterizations of every single people with their types. This is exactly what Lord of the Flies tries to show; relationships of the children who seem innocent, but act according to what they've learned from their societies. A group of children land on an island by force because of a plane crash and they find a conch. They use it to build a parliament and they try to maintain equality while giving all of them the right to talk, choose and live freely which is exactly the same that they've learned from their parents and the world they live in. The problem is, after sometime they forget about this equality and start to fight for power.