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Moby-Dick is a mythic, epic tale, the central activity of which is the commercial enterprise of whaling. In its simplest from, it is the story of the conflict between Captain Ahab and the crew of the Pequod, and an uncommonly powerful and intelligent albino sperm whale named Moby Dick, a conflict bred by the whale's violent resistance to being captured, killed, and rendered into commercial products. The extent of the whaling industry of the time of Melville's writing had reached staggering proportions; the future of certain whale species and of the ecosystem they supported was in jeopardy. It is the assertion here that the author, Herman Melville, imbued with the ethos of his time, intended a certain investigation into the nature of industrialism and the growing exploitation of the ecosystems of the earth visible in the whaling business of his era, and that the mythos of the tale and the character of the whale represent elements of a totem of the conflict of humankind and the natural order.
Melville wrote Moby-Dick in 1851, at a time when whaling was a major industry for the United States and when whale oil was a significant product. By the mid-1870s whale oil had disappeared from active use, having been replaced by kerosene, which was made from petroleum. The growth of the economic society of the West from that time is very much a function of the growth of petroleum as an integral substance that touches virtually every aspect of our lives. The progress of the Petroleum Age very much follows from the mythos of Melville's tale and, in its continuing development, it could spawn a Pequod -like catastrophe for the larger ecosystems of the earth.
There are six parts to this analysis. The first is of the species of whale, to discern the majesty of this creature and to perceive its value as a centerpiece of Melville's work. The second is of Melville, to gain a sense of the man and of his consciousness as he lived and then told this tale. The third is of the work itself, Moby-Dick, to explore the ways in which the themes here emerge in the story. The fourth is of the progress of the Petroleum Age, from Melville's time to today, to discern the imbedded nature of oil and its attendant industrialism in our lives and the power and scientific insight that it has developed. The fifth concerns the conditions of the planet today after 150 years of the Petroleum Age.
The sixth and final part is to explore the nature of the mythos that drives the psyche in the Petroleum Age and to track its progress by way of the powerfully resonant themes that emanated from Melville's time and were imbued in his massively instructive work.
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<<link 1793098901>>
Diss. Pacifica Graduate Institute, 2001.
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This investigation of three novels by Thomas Hardy: //The Return of the Native//, //Tess of the d'Urbervilles//, and //Jude the Obscure//—adopts the theoretical perspective and applies the interpretive insights of analytical psychology, as developed by C. G. Jung and his followers. Through attention to Hardy's complex creation of individual characters and their respective plots, I trace specific passages in the novels, Hardy's rich and multifaceted portrayal of individual characters, and selected developments in the three respective plots. My thread traces the elusive pathway toward the point of intersection among three phenomena: the mechanisms of fate, the sacrifices made unwittingly by individuals in the course of their lives, and the possibilities of expanding individual consciousness as a result. I proffer particular attention to those developments that constitute the stories' "twists of Fate" by focusing on how the destinies of the individual characters are shaped by birth, accident, violation, murder and / or sacrifice—or are realized through reflective consciousness.
My exploration elucidates the depth-psychological dimensions of //Return//, //Tess//, and //Jude// by applying Jungian archetypal perspectives to Hardy's symbolic works. In particular, I consider the degree to which Jung's most all-embracing concepts—the "collective unconscious," the "archetype," and "individuation"—are reflected in, and pertinent to, a psychological understanding of Hardy's writings. Indeed, a striking feature of Hardys umltilayered novels is his highly perseptive references to the religous, mythical, and historical conditions of humankind. This particular combination of attributes is also shared by Jung, to a striking degree.
My particular focus on the themes of sacrifice and individuation (in depth psychology terms) that are woven throughout Hardy's novels constitute my contributioin to articulating the rich dimensions of this great writer's work.
My primary guides in this journey are Carl G. Jung, Edward F. Edinger, John Layard, James Hillman, and Wolfgang Giegerich, whose works I use to explore the biblical, cultural, and mythological sources of archetypal themes that pervade //Return//, //Tess//, and //Jude//.
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This dissertation presents the theoretical foundation for a depth psychological perspective of the Christian myth-- as myth, not as creed or dogma&mdashwhich sees it as the story not of one God-man, Jesus Christ, but of all humanity's journey of individuation and the evolution of consciousness. It also presents a particular method of study of the Christian myth, and of all myth, which I contend allows the student to see through myth to the collective unconscious, the archetypal realm from which it arises.
This psychological view derives from the work of two thinkers. The first is C. G. Jung and his theory of the archetypes of the collective unconscious, which he theorizes reveals itself to us in creative art, dreams, myths, and symbol. One of the central archetypes is the self, and one of the great symbols of the self, he theorizes, is "the Christ." It is this archetypal self which he hypothesizes came alive in psyche 2000 years ago, but was soon projected onto one person, Jesus Christ.
The second scholar is Elizabeth Boyden Howes, who, to Jung's views about the archetypal Christ, adds her belief in the centrality of Jesus of Nazareth as a human being living out his life in service to this archetype, but never identifying himself with it. Howes and associates in the Guild for Psychological Studies, founded in 1956, evolved a particular method of studying Jesus' life and teachings as told in the Synoptic Gospels, Matthew, Mark, and Luke. In a sixteen-day residential seminar which weaves together techniques which draw on critical thinking, imagination, and wisdom of the body, students are challenged to deal with their own beliefs and assumptions, conscious and unconscious, about the Christian story and its central character, Jesus. I explain the seminar process and method in the theoretical section of this dissertation, In memoir, I tell of my own experiences of many of these residential seminars, its challenges and significance for my life. I hope in this way to make clear how such study contributes to each person's own journey of individuation, and thus to the evolution of consciousness.
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This production dissertation is quasi-experimental, with the aim of developing pedagogical methods for high school art teachers. Incorporating mythic themes with the creative process, it establishes a basis on which to build a curriculum for the arts that employs the depth psychology process of active imagination. The goal is the students' personal growth through explorations in clay and myth.
The dissertation study included a workshop (A Focus on the Fire) with ten participants (including the author as participant and guide) engaged in mytho-ceramic activities as a self-discovery process over a ten-month period. The activities included research, writing, dance movement, art installations, and ritual, as well as the process of constructing and firing artworks molded in clay. The use of the kiln was an instrumental part of the process, establishing a link to beliefs and practices in Ancient Greece. Finished masks and body cast forms were exhibited at a concluding ritual that celebrated the transformation and rebirth of participants in identity with the first potter, the goddess Aruru.
Fundamental to this work are C. G. Jung's Active Imagination uniting Psyche (soul, mind) and Soma (body); the feminine principle of The Great Mother archetype (vessel = body = world); and the idea of psychological wounding. Inner and outer wounding, comprising the mythic landscape of the body, were represented in the body casts. Individual identification with mythical personae introduced through Active Imagination was represented in the masks.
The workshop provided a better understanding of the mytho-ceramics process and its meanings, e.g., body wrapping as "mummification" leading to transformation and new life. The validity of applying mythological sources to personal experience is confirmed in the writings of the women themselves as well as in the beauty of their artworks.
The concluding chapter discusses mytho-ceramics in the broader framework of secondary education. It suggests that educators redefine the arts as a means to students' acquisition of intra- and interpersonal skills. It calls for those of us who are teachers (with the full support of school authorities) to become participants in the whole life of the child by sharing their own lives and growth across our woundedness.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765170941&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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Human beings are primarily imagemakers and, as such, the content of our psyches consists of images. These images or pictures determine how we move in the world and, in effect, greatly influence the lens through which we view the world. We are a violent species that misuses imagery to portray us as innocent or heroic. This dissertation explores the archetype of the hero and the heroic temperament of conquest, strength, overpowering masculinity, war, and single-mindedness that essentially boils down to an anthropocentric attitude of violence . It is violence that appears in human //behavior//, //images//, and //consciousness//.
This dissertation is a treatise on human violence: its possible animal origins, the development of the heroic imagery that supports it, and the disastrous effects it imposes on the individual and the culture. I also explore the biological tie between the homo sapiens and the chimpanzee that are relevant to an understanding of the origins of human violence. Most animals are nowhere near as violent as humans, so why did such intensely violent behavior evolve particularly in the human line? How does the hero perpetuate violence in our society? Is warfare a uniquely human activity? Are rape, sexual abuse, and battering uniquely human behaviors?
This study employs a variety of perspectives. The mythological perspective provides a lens through which we view our world and ourselves. Depth psychology provides the tool for focusing these perspectives for a deeper understanding of human behavior. Archetypal and evolutionary psychology provides the viewfinders which we can use to see through the heroic temperament.
This hermeneutical study is accompanied by a screenplay, "Quest for the Grail," based on the epic by Wolfram von Eschenbach's //Parzival// , which offers imaginative paths for development away from violence.
With this work I hope to widen perspectives and present ideas that may assist us in musing over our most puzzling questions. Can we, as humans, develop with sufficient consciousness to become a non-violent species? Can we move out of the perpetual trap of violence, if we continue to emulate the hero?
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The primary objective of this pilot study is to determine the effectiveness of a mythological studies approach to support the existing, multidisciplinary treatment program offered in the Mental Health Clinic (MHC) to Vietnam veterans who suffer from posttraumatic stress disorder (PTSD). Mythology, story that transcends time and place, is particularly concerned with communicating meaning and purpose to human beings, especially when adversity strikes. According to Joseph Campbell, a well-known scholar of cross-cultural mythologies, all myths contain certain elements that inform basic human experience, propose answers to mankind's most profound questions, and provide a structure for wondering about the mysteries of life and death. This study was designed to determine if the metaphor of the Hero's Journey can communicate a different meaning for the traumatic events that these veterans have endured, thus reducing their self-reported PTSD symptoms.
Although there is significant existing research that examines combat-related PTSD from a variety of positions, few researchers have addressed the meaning that veterans attach to their traumatic war memories and the meaning and purpose in their lives today, some thirty years after the initial exposure occurred. This pilot study introduces the myth of Odysseus to a small group of veterans with PTSD, veterans who have not recovered from their traumatic combat or homecoming experiences. The intervention employs the use of imagination, ritual, story, and art to convey the lessons that ancient mythic heroes and warriors have to teach.
Little statistical significance was achieved in this pilot study due to the small sample size; however the results of this project support the value of this psychoeducational approach as an adjunct to the existing care available to these veterans. Mythic themes have long been effectively used in the psychoanalytic hour on an individual basis, but a group setting for the transmission of mythology is historically more common. This project attempts to revitalize an ancient method to help citizens recapture the mysteries that inform life.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=1232392451&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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The Catholic hagiographical myths surrounding Clare of Assisi describe a woman of extraordinary virtue and superhuman perfection. Little is known about her influence in changing the course of history during her own feudal times, and her spiritual legacy to women and men who long for inner understanding. For eight hundred years Clare has stood in the shadow of the charismatic personality of Francis of Assisi. However, in recent years there is a growing number, particularly in the Franciscan tradition, who seek to know more of the life and spirituality of Clare.
This study is mythological in approach and uses history, depth psychology, and literature to interpret Clare's life and her extant writings. The introductory chapters offer the academic framework upon which a later topical study builds. Psycho-mythology, which depends upon an expanded use of active imagination, undergirds elements of the personal content incorporated into the study. Legends, dreams, and visions share insights with historical fact and rational investigation, in order to portray a Clare who uniquely contributed to the storehouse of human history and wisdom.
An examination of Clare's historical setting in the feudal times undergirds a topical study which is based upon four elements in Clare's practical application of love: contemplation, community, poverty, and union. These topics allowed this study to investigate Clare's life from an empirical standpoint and an imaginal hermeneutic. The historical and mythical intermingled.
A new Clare emerged as the study progressed. She is a woman who fits into the twenty-first century. She practiced a contemplation in keeping with the fast pace of modern society, developed a style of leadership-of-the-many, lived a simple life-style which frees the overindulged, and espoused a manner of relationship which tenders affection to the individual while strengthening the bonds of the communal. She tended the soul and loved being human.
The appendix offers a means of a further development of Clare's story. It incorporates the theater's use of a Duologue to give voice to her message. I hope it will be heard.
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This study applies archetypal psychology and phenomenology to unfold the ancient imaginal wisdom and applies it as a model to implace body-soul-world in modernity. This work seeks humanity's roots in the imaginal and mythic realms of psyche. A careful review of the myths of nature and wilderness in Western civilization implicates the confluence of the dominant epistemology of the time with the theological place of the Divine. These changes in mythic patterns of perception suggest a fluidity of belief systems and notions of wilderness that influence the development of the ideas about "reality" historically. How we know the natural world depends on our manner of knowing. When that manner shifts, material being explored shifts as well.
In addition, where we believe the Divine resides influences humanity's actions towards the wilderness. Historical research shows that the decline of the symbolic dimension coincides with the demystification of the wilderness. As the gods retreat into the ethers, the wild places of the embodied world become objectified. This study's focus is on the correlation between beliefs about wilderness and imagination. When a people celebrate nature, the imagination seems most often to be revered as a legitimate source of knowledge; conversely, when a culture or a people demonize or secularize nature, they also discredit deep imagination. As ego and scientific knowledge are attributed the highest forms of knowing, the ensuing colonization displaces and marginalizes the wilderness and the imaginal.
This study desires to resolve this fissure by revisioning several ideas to implace both the imaginal field as humanity's ground and soul as the webbing between person and world. The goal is to reanimate the relationship of psyche and world through a mythic understanding of the ecosystem of soul. Implacing humanity in the Wild is far less a regressive act of primitivism or animism, but rather an ecopostmodern and archetypal re-membering that dreams us as individuals and wilderness as conjoined to us, forward. Indeed, it is only the Wild that can re-story humanity beyond Oppressor or Stranger in the world.
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=994230401&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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The breeze at dawn has secrets to tell you. Don't go back to sleep. You must ask for what you really want. Don't go back to sleep. People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep. —Jelaluddin Rumi, The Essential Rumi
"People need poetry that will be their own secret to keep them awake forever," professes Osip Mandelshtam, "and bathe them in the bright-haired wave of its breathing" (qtd. in Rees: 82). Given its ennobling, rousing effect, poetry is an antidote to contention and indifference. It is an exalted form of activism, an expression of tender outrage. Even as poetry forces us to grapple with what is difficult and painful, it is a generous, liberating discipline. "Part of the majesty of poetry," writes Edward Hirsch, "is that it works against the suffering it describes. It restores us to what is deepest in ourselves" (5).
In need of depth and resonance, many Americans have turned to poetry, in particular the mystical sort. On account of the clear, poignant translations of Coleman Barks and his esteemed colleagues Robert Bly and Andrew Harvey, the poet Jelaluddin Rumi—a thirteenth-century Sufi known by virtue of his emotive, passionate commitment to "the Beloved"—has become America's poetic darling. Much like C. G. Jung, he serves as a modern muse and teacher, a prince of divine love.
"Across the Doorsill Where the Two Worlds Touch" speaks to the affinity existent between depth psychology and the poetry of Rumi. An observance of ambiguity, the pith of the Jungian approach, it is not as much about traversing "the doorsill where the two worlds touch" as it is about resting inside the doorsill, where opposites converge in silence. Commencing with an exploration of the relationship between mythopoesis and mysticism, it then details Sufism, which concerns itself with the purification and tuning of the heart. Subsequently, the dissertation pivots themes of desire and drunkenness, collapse and forgetfulness, and dreaming, dying, and becoming. Alchemy, imagination, and play—important elements of both depth psychology and the poetry of Rumi—are viewed in light of nature, the body, and desire. Finally, and most importantly, longing is construed as a holy impulse, a precursor to the meeting and merging of the ego and the Self, the lover and the Beloved.
<<link 1677843311>>
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This dissertation takes a mythological approach to the process of healing the wounded self and psyche through the union of Jungian depth psychology/active imagination with shamanism found among indigenous cultures, yielding the postmodern concept of neoshamanism.
Under the influence of Laurens van der Post's //A Mantis Carol//, I ventured to Botswana in 1995 to collect stories from the Kalahari San for Western children. While there, I explored the myths of the San's sacred trickster god, Mantis. I believe the trickster plays a key role even today, enabling them to balance parts of the unconscious Self and the collective shadow, constantly challenging the community's mythic structure.
This character, who artfully breaks taboos, helped me to unlock my own shadow material of childhood incest. Through the trickster I was given insight into the dangers of my own cultural myth. In healing the victim, Western myth emphasizes its all-devouring patriarchal foundations and has forgotten that our place of origin is the mother's womb. I believe that "the feminine" in all of us is in great need of soul retrieval, in order to bring all the parts of ourselves, our world, into balance and harmony.
I explore the role of shamanism among the indigenous cultures throughout the world. Specifically, I look at the shaman's use of soul-retrieval: the recovery and restoration of the lost parts of the individual. I also explore Westerners' attempts to heal the lost soul through psychology, comparing and contrasting the approaches of Freud and Jung toward healing, particularly Jung's use of active imagination.
I look at my own trauma of incest from another perspective, based on my re-wounding with the Maasai. I concur with Laura Makarius' belief that the act of incest among the indigenous was used to come in contact with the consanguineous blood for the use of power, reflecting an awareness of the magical power of the forbidden.
I conclude that the victim's journey never ends, that he or she is always plunging back into the underworld, to look at the wound from a different angle as part of a personal revolution.
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Diss. Pacifica Graduate Institute, 2000.
<<link 1942005801>>
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Using the metaphorical imagery of alchemy, this study takes an in-depth look at what the alchemist would consider a prima materia, a substance of little or no value, one that could be discarded. However, this substance was also considered to be of immense value if allotted the attention it so rightfully deserved. In the United States, African American urban adolescent males would mirror the prima materia, for America has by most accounts “thrown” this population away. African American urban adolescent males feel themselves of a color “blacker than black.” This color carries with it a charged shadow image of negativity, causing a color complex which leads many to an inferiority complex. Added to this lack of ego formation are youth living in an urban environment not conducive to exposure or learning. Their environment results in a victimization mentality leading to a cultural mindset reminiscent of the prisoners in Plato's allegory of the cave. This dissertation offers an interpretive perspective from mythology, developmental psychology, and sociology. Furthermore, to understand the world-view of urban Black adolescent males, concepts of the Akan systems of development are compared to similar concepts in Jungian psychology. These ideas form the theoretical foundation of a non-profit organization, Alchemy, Inc., where the theory is put into practice by forming groups that create a sense of community to assist in the development of urban adolescent males through the telling, discussion, and interpretation of mythological stories and fairy tales, told to the beat of an African drum. The uniqueness of this concept has garnered the attention of organizations around the country. With the assistance of the Joseph Campbell Foundation, Alchemy, Inc. is in the incipient stages working to develop materials to support replication and adaptation of this method. Pilot projects are slated to begin soon in five schools in the Akron/Cleveland area. The goal is to use these pilot projects as a catapult to spread the idea regionally then nationally. This study, and its implementation, extracts the gold inherent in our youth.
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Using the metaphorical imagery of alchemy, this study takes an in-depth look at what the alchemist would consider a //prima materia//, a substance of little or no value, one that could be discarded. However, this substance was also considered to be of immense value if allotted the attention it so rightfully deserved. In the United States, African American urban adolescent males would mirror the //prima materia// , for America has by most accounts "thrown" this population away. African American urban adolescent males feel themselves of a color "blacker than black." This color carries with it a charged shadow image of negativity, causing a color complex which leads many to an inferiority complex. Added to this lack of ego formation are youth living in an urban environment not conducive to exposure or learning. Their environment results in a victimization mentality leading to a cultural mindset reminiscent of the prisoners in Plato's allegory of the cave.
This dissertation offers an interpretive perspective from mythology, developmental psychology, and sociology. Furthermore, to understand the world-view of urban Black adolescent males, concepts of the Akan systems of development are compared to similar concepts in Jungian psychology.
These ideas form the theoretical foundation of a non-profit organization, Alchemy, Inc., where the theory is put into practice by forming groups that create a sense of community to assist in the development of urban adolescent males through the telling, discussion, and interpretation of mythological stories and fairy tales, told to the beat of an African drum. The uniqueness of this concept has garnered the attention of organizations around the country. With the assistance of the Joseph Campbell Foundation, Alchemy, Inc. is in the incipient stages working to develop materials to support replication and adaptation of this method. Pilot projects are slated to begin soon in five schools in the Akron/Cleveland area. The goal is to use these pilot projects as a catapult to spread the idea regionally then nationally. This study, and its implementation, extracts the gold inherent in our youth.
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<<link 1942005801>>
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Diss. Pacifica Graduate Institute, 1999.
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This dissertation, an illuminated novel, attempts to nibble away at the seldom-challenged bias that scientific, scholarly, and legalistic theses on the nature of truth and reality are far superior to any creative, imaginal representations of such matters. Since the fall of the Roman Empire, Western culture has d/evolved into an intellectual hegemony which manifests itself in artificial positive and negative dualisms, too numerous to list here. One aspect of this cultural schism is the elevation to divine stature of rational edicts on the nature of things while intuitive observations are minimized, demeaned, and occasionally, demonized. Thus, creative literary efforts are dismissed as myths, stories, fantasy; mere fictional productions by slightly deranged or childish minds. Only social heretics point out that scientific, legalistic, and scholarly pronouncements are no different, that they themselves are merely social fictions, alternative visions of what constitutes the nature of things. Reality is a cultural construct. Closely associated with-and glaringly contradictory to-our culture's all pervasive duality, is its simultaneous belief that there is a singular reality, a universal truth, a single god, the tiniest sub- atomic particle, a unified theory of everything. Finding such a cosmic, singular truth is a daunting, if not impossible task in a dualistic society. There may be light and dark, good and evil, mind and body, but somewhere there was one reality and one truth-which by definition must exclude the feminine, the intuitive, the story. This dissertation attempts to reverse this inherent bias by reasserting the centrality of the story and image as a conveyance of truth. Alma's story comes first, enhanced by appropriate illustrations. The so-called scholarly observations are a literal appendix. Academic conclusions about the process are positioned at the end, not the beginning, so that both in form and in order the dissertation encourages the reader to look at story as a valid and valued reflection of truth and reality. There is historic precedent for this approach. Medieval illuminated manuscripts-both Jewish and Christian-made the myth, the story, the central focus of efforts. Manuscripts were richly and laboriously illustrated, often with archetypal images. The monks, rabbis, and scholars who produced the manuscripts often had insights about the biblical text and conveyed those insights through graphic representation, intended to stimulate the intuitive hemisphere of the brain. Thus, the scholarly role was to clarify and illuminate the text, but never to dominate and replace the central story. Alma is the product of the creative impulse-conceived in dream, and processed by immersion. It is the story of one woman's epiphany-the moment she understands that the chimerical projection she has been taught to view as reality is merely the projection of society's magic lantern on a gossamer screen. The novel presents Alma's lens, her changing perspective about the nature of things; the scholarly appendix initiates the reader into the centuries-old debate on what constitutes reality. The goal is to allow each reader to gain perspective on her or his own unseen, unacknowledged lenses to develop awareness and appreciation for the diversity and simultaneity of realities. The creative work combined with scholarly observation allows the reader an opportunity to see that all utterances about reality reflect cultural stories-historically, socially, and politically determined fictions. From this vantage point we see the core paradox: the fictions we create are our reality; the realities we create are fictions. Yet, the paradox itself is a projection, a false duality. Once grasped, it evaporates. Then story's centrality is reestablished.
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The Swiss psychologist C. G. Jung and the German philosopher Martin Heidegger were two outstanding twentieth-century figures who made significant contributions to a Western understanding of what it is to be human. Their lives overlapped by some seventy years, during which time they revisioned their fields with unconventional thinking: Jung by returning the notion of soul to psychology; Heidegger by deconstructing a philosophical tradition based on a subject-object split and a forgetting of Being. Heidegger's struggle to open the Western mind to another way of understanding truth parallels Jung's struggle to convince the West of the reality of the psyche. The radical approaches of both thinkers involved expanding the boundaries of their respective disciplines to incorporate each other's fields. Both were deeply concerned about the fate of humanity, warned about the dangers of an unexamined life, and sought urgently to communicate to others a sense of a crucial forgotten something intimately linked to human purpose and destiny. Both abjured metaphysical dogmatism, scientific reductionism, and one-sided intellectualism that either ignored or denigrated the poetic, the mythic, the mysterious. Both adopted phenomenological and hermeneutical approaches to their work, both were drawn to Eastern teachings, and both made a central place in their work for the gods, the religious, the holy. Both were among the leading deconstructors of the prevailing onto-theological myth, as well as creators of modern myths which share key aspects. Yet despite these and other important and deep parallels, despite their proximity in time, space, and interests, despite their yearning for like company, Jung and Heidegger never met, never directly collaborated, never directly influenced one another. Thus they present the interesting case of two major personalities producing large and influential bodies of work, one (Jung) openly hostile to the other; one (Heidegger) virtually ignoring the other, working relatively independently, yet often in accord against the predominant worldview. This dissertation argues that this non-meeting would have been a mere historical curiosity were it not for the fact that this dubious tradition of mutual antipathy and ignorance has largely continued to the present day among the followers of Jung and Heidegger—to the detriment of both psychology and philosophy.
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In the modern West the heart has been divided. It has become either the mechanical pump of empirical medicine or the sentimental heart of Valentine's Day. Notwithstanding this binary division, there lingers in the collective imagination a sense that there is more to the heart than simply "my pump" or "my feelings." This intuition is an invitation to a journey; it is a calling to return to a lost place.
The theme of returning emanates from the Odyssey, arguably the ur-epic of the Western tradition. The many turnings of the polytropic hero, Odysseus, re-collect the metanoia, the many turnings of the imaginal heart.
Like the heartbeat itself, this journey requires a two-fold motion. Mimetic of the systolic-diastolic heartbeat, the journey to the imaginal heart is a fluctuation between two epistemological forces: the critic and the witness. The critic is a searching motion, a hermeneutical approach. It calls upon rational process, a critical interpretation of what has gone before. The witness, on the other hand, is a more receptive motion, a phenomenological approach. It calls upon a poetic process, a reading of the soul of the world that has been lost to enlightened reason.
Although the method of the journey is epistemological, its goal is ontological. The search is for the imaginal realm, that domain of being which was lost in the Cartesian division of subjective and objective. In this great chasm complex rhythm to mechanical motion; storied time to clock measurement.
Like Virgil in the //Divine Comedy//, the hermeneutical guides in this study lead back to a phenomenal and poetic realm. The journey of critical inquiry moves into the realm of the witness and a poetic encounter with the more-than-human world. The setting for this encounter is a coastal wetland. From a disregarded mud flat, a phenomenal presence speaks of a heart lost to us, yet which lingers in the Sufi tradition and the pre-Scholastic West. Neither the heart of positive science nor of sentimental humanism, it is a paradoxical heart, one found in the fluidity of stillness.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=764703581&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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This production-style, cultural-intervention dissertation examines recent understanding of gender development and the history of love and marriage in American culture. It presents a workshop for couples in long-term relationships using three myths that represent corresponding developmental stages of marriage.
Despite high rates of divorce, marriage remains the lifestyle choice for a majority of the population. Rapidly changing roles of men and women and contemporary societal context no longer match traditional expectations, while studies in gender development further challenge previous criteria for male and female behavior. Most American couples base their marriages on unsustainable romantic love, and few find appropriate models for more mature relationships that reflect the realities of postmodern life.
New definitions of marriage are emerging. One possibility is to view the relationship as an ideal psychological and spiritual container for personal growth. It is here that I place the production component of this dissertation. The workshop for couples is based upon the educational theory of transformative learning, an epistemological approach to adult education which encourages changes of cultural perspective and behavior. The method used for the creation of the workshop is applied mythology, which I define as reinterpretation of myths in such a way as to reveal their relevance to contemporary behavior and psychology, and thereby to effect a change or transformation in understanding and action.
I have deliberately chosen myths applicable to the psychological development of either a relationship or an individual, and although the characters in the myths are specifically male or female, the themes enacted may be interpreted as relevant to those of either gender: independence and interdependence, development of skills and individuation, acceptance of self and other, and wholeness in later life.
The workshop also employs narrative inquiry, art, music, and body movement to encourage couples to create a sustained, shared personal myth at a time when dominant cultural myths are fading. Through this hermeneutical act, couples may be enabled to reinterpret their relationship as a postmodern marriage: that is, one in which both partners' perceptions are validated, and both have equal voice, shared responsibilities, and mutual respect.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765190691&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<library 37768>>
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This study identifies the improvisational cadenza as a ritual that amplifies the archetypal power of music and opens transformative questions that challenge traditional pedagogy. This ritual form becomes apparent when it bridges the memorized musical theme and the imaginal musical extension of that theme. The bridging of this gap, between the known and the unknown, the literal and figurative, and the conscious and the unconscious creates a space where the use of imagination, improvisation and creativity as a transition is valued and held to be useful to individuals and the community. Archetypal psychology provides the framework for the analysis of the ritual of the improvisational cadenza. This analysis views aesthetic practices and forms as dialectical in nature, which opens conversations and relationships through an active imagination. Then the practice of ritual, through the process of improvisation and synthesis, creates something new or unique. It is an experience of awareness and action that results in wisdom, vision, and connections with the numinous, connections that feed the soul and create communitas. Nietzsche uses the characteristics of Apollo and Dionysus, gods of art, to mediate, balance and justify an aesthetic universe. These philosophical ideas are the logical extension of this ritual into pedagogical value, a balanced pedagogy that draws from both the affective domain and the rational domain to educate in such a way as to create wisdom and vision.
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Fairy tales offer contemporary women who were abused in childhood a choice of solutions that will enable them to take the steps necessary to claim their own sovereignty as queens, rather than remaining trapped as perpetual maidens.
These steps are clearly shown by the maidens in the fairy tales of One-Eye, Two-Eyes, and Three-Eyes, Rapunzel, and Snow White. Each fairy tale maiden acts to attain her own sovereignty and put an end to her dependent, abused maiden status. Some of the solutions to the challenges of being a maiden or a queen are contained in these three fairy tales. Together, these fairy tales demonstrate the spiritual and psychological constructs that can guide women seeking sovereignty.
The mother's curse is often the underlying cause of a daughter's reluctance or inability to become sovereign. Such a curse can be devastating to a daughter, causing her to remain subject to her abusive mother's tyrannical demands well into middle age. As an abused daughter—now grown seeks to end this abusive treatment and recognizes the results of this treatment—in her own inappropriately prolonged maidenhood—she may find herself waylaid by fear, thwarted by ineffective strategies, and trapped by indecision.
The fairy tales discussed herein offer workable pathways to sovereignty. They allow us to revise the current view of maidens as people lacking in passion and power, who sentimentally indulge in an insipid accommodation to an unwanted destiny. They reveal a seldom-acknowledged darkness in women's power, as seen in through the mothers' revolting manifestations of wickedness.
Each of the daughters in these stories turns to one of these three sovereignty-seeking solutions: reconciliation , a strategy, I argue, that is grounded in the Christian belief system; rupture , based in Hebraic beliefs; and retaliation , founded in a pagan world view.
The case studies will reveal the relevance of these fairy tales for women today.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765122871&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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'tiddler.tags.contains("o")'
sortBy
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write
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begin '"|sortable|k\n|Author|Title|Year|h\n"'
>>
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This research examines the worldview of para-reality . Para-reality is defined as a state in which polar natures coexist and influence each other, and their boundaries are sometimes ambiguous, as if their opposing elements are identical. That is, this idea offers visions of joining, both-and, ambiguity, or coexistence of polar natures.
The view of para will contribute to the reconsideration of the dualistic way of thinking. Dualism is characterized by the master code of dividing, either-or, or excluding. As Jacques Derrida acutely points out, Western metaphysics dichotomizes morality, values, and other concepts to binary opposites, thereby hierarchically ranking the oppositions as superior/inferior. The dichotic view tends to think little of the other seen as the inferior, giving rise to a rift between the binary natures. This way of thinking does not provide a place for human relative and subjective intuitions, reconciliations of conflicted things, or equal co-relationships between two domains.
In Japan, para-reality is a traditional worldview and it is expressed as many metaphoric images in myths, literature, arts, poems, or manga (graphic novels). In order to discuss the map of para , this research follows the mythopoetic analysis. This method sees various phenomena and ideas through their fundamental images and myths.
This research also uses the textual pluralism approach, which deconstructs a dominant interpretation of a myth. This method makes it possible to understand a narrative from various points of view. Reading a tale from this perspective, one will notice many images and voices of the individual characters that are regarded as subjugated or secondary positions in the story.
The textural pluralism is highly important for reading of the Japanese myths. Japanese mythology in Kojiki and Nihongi is compiled from the political perspectives of the imperial clan in early Japan. In their images and characters, the myths describe the superiority of the early Japanese government over other tribes in Japan and other countries in East Asia in the eighth century. Meanwhile, this research discovered new para-realistic imageries by focusing on each character and their voices in the same Japanese myths
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=913523781&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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This production dissertation examines archetypal psychology, phenomenology, and reverie to support the creation of new poetry. Part 1 contains the narrative and theory portion; part 2 consists of poetry written through various tenets of the aforementioned theories. It is prompted by the opening line of Rainer Maria Rilke's "First Elegy" from Duino Elegies : "Who, if I cried, would hear me among the angelic/orders?" Through study of the Greek god Hermes' stories, the field of etymology, grammar with its parts of speech, and metaphor, a hermology or logos of Hermes is developed.
Hermology contends that archetypal Hermes, a figure who is able to speak through gestures, can dwell both within the individual words and in the various lines of poetry, carrying sacred and essential messages from the gods. It proposes that Hermes points towards these messages for our attention through such tactics as ambiguity and paradox. A study of metaphor and several parts of speech is essential in this work because the naming act that assigns words to objects, beings, ideas, and actions is a primal and creative endeavor that reveals psyche's movement.
In addition, an understanding of etymology is an intrinsic part of the fully reverent and contemplative engagement needed to see through heard words to the images they evoke. This understanding deepens humility as one attempts to utter one's own words, an attitude that offsets the assumptive stance of hubris in word usage. While utterances may be flung about as refuse and fodder, words tighten in response and become trite with no room for images to reside. The gods cannot be heard over the cacophony, and divisiveness grows within and among individuals, groups, and societies. The extent to which we can become aware of all possible intonations, nuances, and subtleties that words hold increases the possibility of growth in our awareness of self and other within a continuum rather than remaining in isolated and discrete segments.
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<<link 1942005791>>
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What role does the numinous play in Jung's journey to individuation? When does the journey really begin? How does the numinous interact with this journey over the course of our lives? To answer these questions we must cover a multiplicity of subject matter: the study of religion, the description of numinous experience, C. G. Jung's theory of individuation, the relationship of mythology to numinous experience, and a description of the liminal spaces where the numinous reveals itself to us.
This dissertation explores the numinous experiences of five interviewees and compares each experience to the descriptions of the numinous of Rudolph Otto, C. G. Jung, and William James, then links the experiences to Jung's theory of individuation.
The research method utilized for the gathering and interpretation of data is the Duquesne studies in empirical phenomenological, human social sciences method. Five subjects volunteered to be interviewed as a part of this study, both females and males, at different stages of life. Each described a personal numinous experience and provided a brief history of his or her past. Open-ended questions were used to solicit relevant life events. This brought to the experience conscious and unconscious associations. The interviewees related their life situation at the time of the experience, and any major pertinent recent life event. Each interviewee was asked to link his or her numinous experience to childhood events. The interviewees were also asked to address whether, and in what way, the experience had changed the course of his or her life.
According to Jung's journey to individuation, the numinous performs the following roles: (1) it may provide the call to start the journey to individuation; (2) it may illuminate the information the person needs to grow and mature; (3) it may move the process forward when the person seems unable to escape the chaos; (4) it may bring a time of chaos and reflection, by initiating the tension of the opposites that are needed for individuation to occur; (5) it has the seeds of its beginning in the person's youth; (6) and it can present itself multiple times over a life-span, acting as the catalyst in all the ways described.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=766261081&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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Inspired by the notion carried forward through the works of C. G. Jung, Henry Corbin, James Hillman, and others that psyche is not contained within the human mind but that the human mind exists in psyche, this dissertation explores an active commitment to perceiving nature and culture, self and other as mutually creative forces in a co-responding imaginal field. It proposes that essential and purposeful aspects of this dynamic relatedness may be reflected through psychic image, and that the enactment of such image constitutes a meaningful gesture of reciprocity, deepening and furthering an embodied consciousness of interdependence. Co-responDance is offered as a term to describe this participatory awareness, and an inquiry into its application is presented. Theoretical discussion considers the formative influence that cultural mythologies have on perception, interpretation, response, and consequence.
An engaged relationship with land and landscape has been emphasized, which in practice led to the production aspect of this work: building a frog temple on the Arcadia property near Port Townsend, Washington, in accordance with an image that arose spontaneously as an enspirited directive while driving through the Camas Creek Valley in Idaho. To demonstrate the significance of the frog temple at Arcadia as a received and incorporated gesture of co-respondance, the image is developed and deepened by adapting the three-faceted approach of " remembering , contemplating , and loving " that David Miller describes and applies in his book Three Faces of God: Traces of the Trinnity in Literature and Life . Geographic, historical, and mythological contexts interweave the elements of the image, portraying a contemporary relevance in the immediacy and range of psyche's presentation.
The construction of the frog temple itself is documented in text and photographs. Although the manifest effect of the temple can only be experienced directly, the geometry of its design and the labor involved in its production convey at least some sense of the integrative psychic field it conducts.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=1127197491&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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Life is a process of change. In order to accommodate these changes, the individual must undertake the challenges of life as a warrior. The opponents can be nature, another warrior, or himself. During his daily routines of life, the contemporary warrior expresses his basic needs and defends the personal mythology that supports his existence. In each battle the warrior is guided by the mythological and psychological structure that served him well in the previous skirmish. Yet as these skills and abilities are utilized in the new conflict, they can be found wanting. Hence the warrior must undergo a transformation during combat in which his mythology of life is adjusted and realigned. Combat is essential in determining the strength of the warrior's beliefs and the mythology of life that ensures his existence.
The warrior's transformation proceeds during a process of stages: the entry into battle, the influences of the opponent and the field of battle, chaos, the psychological trauma and madness when the warrior's needs are rejected, a numinous experience, the reordering of beliefs, reflection, and acknowledgment. This transformational process applies to female as well as male warriors, and the role of gender and combat is addressed.
Promoting a process of combat as a method of enhancing a mythology of life can be viewed with suspicion. Aggression for many people is unpopular. Silence, meditation, and counseling are often encouraged as a remedy for aggression, and conflict resolution is recommended. But this is to miss the point. Transformational combat is a process, not isolated incidents of violence. During such combat, the warrior surrenders to a process that will allow him beneficial change. Transformational combat sees flux and chaos as essential in helping the warrior bolster his mythological perspective and discard outmoded ways of thought. Passivity in the face of change will not ensure the survival of the warrior, let alone enhance his mythological and psychological development. The process of transformational combat, of course, should continue for the life of the warrior.
Aspects of transformational combat can be seen in the unconscious, the Self, synchronicity, the Tao, alchemy, quantum physics, Dionysus, the morphogenetic field, and Buddhism. Also pertinent are the teachings and perspectives of C. G. Jung, Abraham Maslow, James Hillman, Nathan Schwartz-Salant, Wolfgang Giegerich, and many others. All of these have a mutual commonality concerning some of the stages of transformational combat. Also, examples from literature and films illustrate and clarify these scholarly observations.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765213611&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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Depth psychotherapy is concerned with psyche's inner topography and the movement from outer known identifications to the undiscovered interior realm of soul. As such, any direct discussion of the interiority of the psychotherapeutic process is, paradoxically, unspeakable. Thus, I turn to the metaphoric other, the epic poem, to name the nameless inner action of depth psychotherapy. Although the dissertation is theoretically informed, it does not offer clinical explanations; instead, it imaginatively describes the therapeutic experience from the client's point of view, while arguing that the action of epic poetry is analogous to the interior movement of the analytic client. Rather than using psychology to illuminate epic literature, my proposal moves in a different direction, utilizing the literary image as an interpretive opening for the psychotherapeutic process. As an interdisciplinary hermeneutic study, Couching the Phenomenological weaves together literary criticism, depth psychology, mythological studies, and the following works of literature: The Epic of Gilgamesh, The Odyssey, Moby-Dick, and Beloved.
The epic image allows us to look through to the poiesis of the analytic pilgrim-poet and the inner making of soul, thus revealing the motive, the happening and the essential truth of soul's desire to be known in all its complexity and subtlety. With profound courage and the assistance of essential others, the epic and analytic hero descends to the underworld topos of memoria in order to retrieve sacred knowledge. Dis-membered and re-membered through the recursive and curative function of memory, the hero returns from the depths and creates a new cosmos, founded in personal, cultural, ancestral, and archetypal wisdom. As epic demonstrates a concern for both the individual and cultural psyche, so does this dissertation by arguing that the field of psychology and contemporary society are mired in a one-sided consciousness that devalues the past, memory, depth, and darkness. Following Jung's argument, epics provide a compensatory balance to cultural unconsciousness. Through the introduction of the epic model of depth psychotherapy, the unspeakable finds form, while imagination, memory, an old heroic ideal, and the dark complexity of soul reclaim their communal virtue.
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Using a depth psychological approach in the analysis of themes that document changing perceptions of American frontiers, I suggest that frontiers are both a dwelling place in the psyche and that they contain living mythologies. This analysis builds on the conversation initiated by Hillman and Giegerich and suggests that an imaginal approach may not only incorporate Giegerich's concept of the dialectic but also captures the processual dynamics at work in the modern world, in the ways that dynamic frontiers are mediated, negotiated, and shaped.
The suggestion that image cannot hold what needs to be conceived in thought, such as conceptual abstractions, is limiting. Through the analysis of mythic themes that focus on the frontier, I demonstrate how image may continue to hold conceptual abstractions by incorporating modern technologies. The mythic frontier transcends the literal through imagination. The nature of the frontier is that it is a place, real or imagined, that is continually shifting.
The thematic basis of this work is found in the stories and images found in literature and art that contribute to popular ideas about the mythic Western Frontier. These cultural referents include: landscape; migration; individualism; sacrifice and survival; and technology. The frontier experience is atemporal. New frontiers in the form of new technologies allow the culture to perceive abstractions in new ways, while maintaining the old cultural mythic roots. The new technologies may alter the way that image is mediated and have the potential to change behavior. The form and process of mediation itself is key to the act of creation.
The process of mediation through image removes the individual from singular events and amplifies the events into experiences that are fluid. This fluidity is characteristic of the frontier. The move to incorporate literal and metaphorical frontiers not only recognizes Giegerich's call for an ideational or psycho-logic depth psychology, but suggests the re-implacement of the individual living in a postmodern world within an existing mythic narrative.
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The anti-Communist purge in Hollywood in the 1940s and 50s is connected to a larger cultural mythology, a collective dream of humanity. This dissertation explores the American historical and cultural climate at the time and intersperses archetypal themes throughout to highlight the premise that culture //is// mythos. Memory plays a vital role in this work. In addition to the theoretical component, I include a memoir that re-imagines the life of my mother, a blacklisted screenwriter, and utilizes thematic aspects of the dual-natured god Dionysus to explore our relationship.
The culture of Hollywood is steeped in the myth of paradise: it grew out of a semitropical landscape where money and carnal pleasures were abundant, filled with people who idolized eternal youth and beauty. Many artists who came to Hollywood in the 1920s-40s were from Europe and New York, identified with the values of marginalized and countercultural people, and brought utopic political ideologies to add to the cultural mix. The extreme polarization of political ideologies in post-World War II America was characterized by "splitting," separating good and evil, a practice central to the Genesis myth. Proponents of a particular ideology, whether liberalism, conservatism, socialism, or fascism, became blind to their own shadows and projected all shadow aspects onto an "Other."
This study shows how the Red hunts and blacklists of the 1940s and 50s in the United States contained traces of sacrificial rituals that began as religious practices in ancient societies and have transformed over time into secular, sociopolitical mechanisms. In the Old Testament a goat was sacrificed to atone for the sins of the people. In modern Western societies scapegoats—-like the Communists and left-wingers—-have served as a symbolic sacrificial antidote against catastrophe.
Those who were labeled as Communist contagion and refused to repent their past and name other fellow travelers were blacklisted, suspended in a liminal phase of the rite in which all aspects of social standing and identity were erased, their voices silenced. Many blacklistees experienced depression, divorce, or early death. Some, like my mother, were drawn to the creative power of alcohol, represented by the god Dionysus, to cope with their losses, and were consumed by the coexistent destructive force of the archetype.
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=994230441&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<pl 892047732>>
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Desire is one of the most misunderstood forces in psychology, yet it is also amongst the most necessary. In the words of Nietzsche, reason is not enough as it only satisfies man's rational requirements. However, Desire is the very manifestation of life. This study examines intersecting areas of Religion, Mythology, Philosophy, and Depth Psychology that deal with Desire. The Post Modern views of Lacan, Deleuze, and Guattari will be reviewed, beginning with a historical look at the relationship between Desire and Psychoanalysis. Freud, Jung, and Hillman laid a foundation in psychoanalysis, analytical, archetypal, and depth psychology that make the Alchemical Desire I explore possible. Following Jung, I argue that the key to understanding the complex nature of Desire is to first come to understand the Self. In this way, we can heal the split, the dichotomy that results when our desires do not have a concentrated focus and positive direction. More importantly, desires are not meant to be judged, or labeled as bad or good. On the contrary, it is crucial to gain a sensitive ear to the voices of Desire that lead us, guide us, and seduce us into situations and experiences that hold great gifts and teaching opportunities. By abandoning the dichotomy that labels desire bad or good, we begin a dialogue crucial for the transformation of soul. Controlled by desire we are dangerous, but without it our soul withers and dies. However, there is a middle way. As we listen to the voices of Desire and embrace their power with a well-rounded perspective, contradiction dissipates and the complex emotions surrounding this psychic force are more deeply understood.
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Devotees of Dionysus. Queer Culture in the United States, is production-style dissertation exploring the mythic, ritualistic, psychological qualities of the Dionysian archetype as they relate to modern-day queer men. Many queer men have been exploring their history and their mythology in search of an understanding and a purpose for their difference. I am arguing that for queer men, the Dionysian archetype and mythology provide the best model for understanding the homosexual lifestyle and consciousness. For queer men already, consciously and unconsciously, have played with this energy as being an "other," apart from the a larger heterosexual world; have displayed acts of revolution and liberation from confines of heterosexuality; have been involved in drama, drag, and camp; and have been linked to the process of death and dying confronting teen-age suicide and the HIV pandemic. This dissertation uncovers the shadow and light-side contributions that queer men make in the world, wielding the energies of the Dionysian archetype as an expression of queer soul. Dionysian qualities such as liberation, revolution, excess, ecstasy, dance, sex, orgy, drunkenness, drugs, drama, drag, death, and dismemberment all account for the life experiences of many of its devotees. Devotees of Dionysus bring to light the qualities and nature of queer soul, not only for the queer community but for the larger heterosexual community as well. Following this historical, mythological, and archetypal exploration into the Dionysian archetype will be an archetypal play called A Twi§t of Hair , which parallels and illustrates the Dionysian, in relation to queer life. Inspired by Euripides' The Bacchae, A Twi§t of Hair, not only provides an example of the archetype, but once performed, becomes a ritual in honor of the god and his queer devotees.
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Obesity has become endemic in the United States, and extreme obesity poses myriad physical, psychological, and spiritual risks. In the last decade gastric bypass surgery had become popular in treating severe obesity. Compulsive overeating is not an ecstatic celebration of food; it is an addiction, and for some, an uncontrolled madness. Bingeing disrespects Dionysos and can be understood as an affront to the ecstatic god, who, when dishonored, inflicts madness—which inevitably leads to dismemberment—upon his transgressors. Extreme overeating therefore becomes a form of Dionysian madness: gastric bypass surgery is the inescapable dismemberment.
After surgery, the process of re-membering begins, a time for patients to re-member previous trauma, their bodies, and eventually, the feminine. Many descend into Hades; they experience depression and even flashbacks. The high correlation between eating disorders and sexual trauma necessitates that sexuality is addressed in the ensuing psychotherapy, because fat has been a metaphorical protection. In addition, many patients have excluded Aphrodite from their lives, an omission which results in feelings of alienation, decreased sexuality, and unavoidably aridity. She, too, must be re-membered.
Further, all the hardships Dionysos experiences in his early life are because of Hera's jealousy, a direct response to Zeus' habitual infidelity. This archetypal dyad manifests in the media's seduction of women via advertising, with its culturally imposed body image ideals, and society's collective hatred of the feminine. Human attempts to control the body, like attempts to control the earth, are hubristic notions exacerbating overconsumption, consumerism, and cultural colonialism, all of which influence both compulsive overeating and body image hatred, collectively seeking to obliterate the feminine.
Dionysos, renowned for his relationship with the feminine, descends into the Underworld to rescue and retrieve his mother, Semele; therefore the archetype of Dionysos provides a portal for re-membering the lost feminine. Ironically, the wild, ecstatic god is a paragon of balance: in him, male and female, divine and human, ecstasy and calm, all seemingly opposing qualities, co-exist. Within the Dionysian archetype lie the etiology of and the treatment for gastric bypass patients, who, like him, re-member the lost and abandoned feminine via the psychotherapeutic journey.
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/***
|Name|DisableWikiLinksPlugin|
|Source|http://www.TiddlyTools.com/#DisableWikiLinksPlugin|
|Version|1.6.0|
|Author|Eric Shulman|
|License|http://www.TiddlyTools.com/#LegalStatements|
|~CoreVersion|2.1|
|Type|plugin|
|Description|selectively disable TiddlyWiki's automatic ~WikiWord linking behavior|
This plugin allows you to disable TiddlyWiki's automatic ~WikiWord linking behavior, so that WikiWords embedded in tiddler content will be rendered as regular text, instead of being automatically converted to tiddler links. To create a tiddler link when automatic linking is disabled, you must enclose the link text within {{{[[...]]}}}.
!!!!!Usage
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You can block automatic WikiWord linking behavior for any specific tiddler by ''tagging it with<<tag excludeWikiWords>>'' (see configuration below) or, check a plugin option to disable automatic WikiWord links to non-existing tiddler titles, while still linking WikiWords that correspond to existing tiddlers titles or shadow tiddler titles. You can also block specific selected WikiWords from being automatically linked by listing them in [[DisableWikiLinksList]] (see configuration below), separated by whitespace. This tiddler is optional and, when present, causes the listed words to always be excluded, even if automatic linking of other WikiWords is being permitted.
Note: WikiWords contained in default ''shadow'' tiddlers will be automatically linked unless you select an additional checkbox option lets you disable these automatic links as well, though this is not recommended, since it can make it more difficult to access some TiddlyWiki standard default content (such as AdvancedOptions or SideBarTabs)
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!!!!!Configuration
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<<option chkDisableWikiLinks>> Disable ALL automatic WikiWord tiddler links
<<option chkAllowLinksFromShadowTiddlers>> ... except for WikiWords //contained in// shadow tiddlers
<<option chkDisableNonExistingWikiLinks>> Disable automatic WikiWord links for non-existing tiddlers
Disable automatic WikiWord links for words listed in: <<option txtDisableWikiLinksList>>
Disable automatic WikiWord links for tiddlers tagged with: <<option txtDisableWikiLinksTag>>
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!!!!!Revisions
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2008.07.22 [1.6.0] hijack tiddler changed() method to filter disabled wiki words from internal links[] array (so they won't appear in the missing tiddlers list)
2007.06.09 [1.5.0] added configurable txtDisableWikiLinksTag (default value: "excludeWikiWords") to allows selective disabling of automatic WikiWord links for any tiddler tagged with that value.
2006.12.31 [1.4.0] in formatter, test for chkDisableNonExistingWikiLinks
2006.12.09 [1.3.0] in formatter, test for excluded wiki words specified in DisableWikiLinksList
2006.12.09 [1.2.2] fix logic in autoLinkWikiWords() (was allowing links TO shadow tiddlers, even when chkDisableWikiLinks is TRUE).
2006.12.09 [1.2.1] revised logic for handling links in shadow content
2006.12.08 [1.2.0] added hijack of Tiddler.prototype.autoLinkWikiWords so regular (non-bracketed) WikiWords won't be added to the missing list
2006.05.24 [1.1.0] added option to NOT bypass automatic wikiword links when displaying default shadow content (default is to auto-link shadow content)
2006.02.05 [1.0.1] wrapped wikifier hijack in init function to eliminate globals and avoid FireFox 1.5.0.1 crash bug when referencing globals
2005.12.09 [1.0.0] initial release
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!!!!!Code
***/
//{{{
version.extensions.DisableWikiLinksPlugin= {major: 1, minor: 6, revision: 0, date: new Date(2008,7,22)};
if (config.options.chkDisableNonExistingWikiLinks==undefined) config.options.chkDisableNonExistingWikiLinks= false;
if (config.options.chkDisableWikiLinks==undefined) config.options.chkDisableWikiLinks=false;
if (config.options.txtDisableWikiLinksList==undefined) config.options.txtDisableWikiLinksList="DisableWikiLinksList";
if (config.options.chkAllowLinksFromShadowTiddlers==undefined) config.options.chkAllowLinksFromShadowTiddlers=true;
if (config.options.txtDisableWikiLinksTag==undefined) config.options.txtDisableWikiLinksTag="excludeWikiWords";
// find the formatter for wikiLink and replace handler with 'pass-thru' rendering
initDisableWikiLinksFormatter();
function initDisableWikiLinksFormatter() {
for (var i=0; i<config.formatters.length && config.formatters[i].name!="wikiLink"; i++);
config.formatters[i].coreHandler=config.formatters[i].handler;
config.formatters[i].handler=function(w) {
// supress any leading "~" (if present)
var skip=(w.matchText.substr(0,1)==config.textPrimitives.unWikiLink)?1:0;
var title=w.matchText.substr(skip);
var exists=store.tiddlerExists(title);
var inShadow=w.tiddler && store.isShadowTiddler(w.tiddler.title);
// check for excluded Tiddler
if (w.tiddler && w.tiddler.isTagged(config.options.txtDisableWikiLinksTag))
{ w.outputText(w.output,w.matchStart+skip,w.nextMatch); return; }
// check for specific excluded wiki words
var t=store.getTiddlerText(config.options.txtDisableWikiLinksList);
if (t && t.length && t.indexOf(w.matchText)!=-1)
{ w.outputText(w.output,w.matchStart+skip,w.nextMatch); return; }
// if not disabling links from shadows (default setting)
if (config.options.chkAllowLinksFromShadowTiddlers && inShadow)
return this.coreHandler(w);
// check for non-existing non-shadow tiddler
if (config.options.chkDisableNonExistingWikiLinks && !exists)
{ w.outputText(w.output,w.matchStart+skip,w.nextMatch); return; }
// if not enabled, just do standard WikiWord link formatting
if (!config.options.chkDisableWikiLinks)
return this.coreHandler(w);
// just return text without linking
w.outputText(w.output,w.matchStart+skip,w.nextMatch)
}
}
Tiddler.prototype.coreAutoLinkWikiWords = Tiddler.prototype.autoLinkWikiWords;
Tiddler.prototype.autoLinkWikiWords = function()
{
// if all automatic links are not disabled, just return results from core function
if (!config.options.chkDisableWikiLinks)
return this.coreAutoLinkWikiWords.apply(this,arguments);
return false;
}
Tiddler.prototype.disableWikiLinks_changed = Tiddler.prototype.changed;
Tiddler.prototype.changed = function()
{
this.disableWikiLinks_changed.apply(this,arguments);
// remove excluded wiki words from links array
var t=store.getTiddlerText(config.options.txtDisableWikiLinksList,"").readBracketedList();
if (t.length) for (var i=0; i<t.length; i++)
if (this.links.contains(t[i]))
this.links.splice(this.links.indexOf(t[i]),1);
};
//}}}
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This dissertation demonstrates the validity of utilizing experience at a particular place as a vehicle for mythological study. The validation emerged from a continuous intertwining of objective scholarship, experience in the field, and creative expression. By place, I mean the intersection of time, the land, and the inhabitants of the Lower Pecos area of Texas, who first arrived there ten thousand years ago. Dwelling in their midst led to discovery of the mythic motifs underlying both the place and my own experience. My approach is founded on theories of perception and studies of the mutual influence of humans and land. Acknowledging current scholarship as well as my inherent biases, I describe the role of early history as a beginning reference point shared by varying disciplines' analyses of humankind. From that same reference point, I focus on the religion and art of Native Americans of the Southwest and the lower Pecos region with emphasis on shamanism and rock art. Basic to my approach are C. G. Jung's concept of archetypes and his reflections on primitive peoples, David L. Miller's method of revivifying ancient motifs, and James Hillman's belief in the efficacy of narrative to reveal truth and mythic themes. Mystery surrounding the archaic people of the lower Pecos provided a fertile field upon which to examine archetypes, ancient motifs and narrative. The projection of my own desires and expectations on the particular place culminated in the production section of the dissertation. Recording my responses to the direct experiences of daily Lower Pecos life proved to be an intimate mode of inquiry. I use three genres (poetry, narrative, and journal-writing) to offer different perspectives toward the rediscovery and retelling of human experience there. The theoretical and creative elements combine to reflect personal and universal myths.
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For the creative portion of my dissertation, I have written a novel titled //Elephant Dreams//. The novel is told from the perspective of four women whose stories have been woven together into a modern interpretation of the myth "The Descent Inanna: From the Great Above to the Great Below." Through the image of Inanna's descent into the underworld retold as modern-day novel, the idea of re-storying women's voice has been explored. The main character of the novel, Sara, descends to the underworld and faces those aspects of herself that have been silenced. As a result of this journey, the possibility is opened up for Sara to begin regaining her own strong, self-expressive voice.
The theoretical introductory chapters to the novel explore the importance of retelling myth as story with a postmodern perspective in order to restore or remember. To enter the realm of myth and in particular, myth as story to be retold, however, is to enter into imagination. We need to open up our perception of reality to understand the inherent metaphor of being; there is no one truth, no original that we can ever know, but only an infinite number of reflections. Therefore, this study examines historical and postmodern perceptions of imagination. This examination introduces us to the need for stories that are already themselves re-storied stories, stories that reconstruct luster-filled perceptions for a wider public audience, thereby deconstructing the literalizing of "real" fiction.
When turning toward a practical method of implementing the concepts presented in the above examination, this text uses archetypal psychology in relation to mythology. Specifically, pathologizing as it deepens us into soul or an unconscious language of imagination through our symptoms, which in this dissertation is the silencing of women's voice. Through archetypal play with words we are led into an unconscious language that moves in our belly, inhabits our bodies, and breathes out a "feminine" (in conjunction with a "masculine") voice. Hence, my contribution, an interweaving story of myth, postmodern imagination, soul, symptom, "feminine" voice into the novel, Elephant Dreams , as one example of a "new" necessary perception of literature.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=728852501&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
C. G. Jung knew the importance of examining one's life. He believed that human beings have an inborn drive towards self-knowledge and wholeness and he described this tendency as the process of individuation.
In this dissertation, I revisit Jung's concept of individuation and apply it specifically to women who have been wounded by the father archetype. The father archetype has two sides: it protects and guides, but it also rages and castrates. My research looks at the various effects, such as idealization, depression, helplessness, anger, passive-aggressiveness, victimization, and waiting for life to happen, that the negative or out-of-balance father archetype has on the daughter. It also examines how this negative archetype becomes part of the daughter's psyche as the negative father complex.
Further, I investigate the idea that the feeling function, which allows one to experience life with meaning, is the same function that opens one to an experience of the divine in outer reality and in the body. I look at how difficult it is to incorporate a feeling feminine perspective into the definition of humanity in our patriarchal society.
The father daughter relationship is examined through the fairy tale of The Handless Maiden and the myth of Electra. The handless maiden heals her father complex by leaving her father's house, withdrawing from worldly activity, and, after a good deal of suffering, becoming herself. Electra, on the other hand, cannot resolve her father complex and find her authentic self. She remains trapped in her anger, idealization, depression, and passive-aggressive behavior. We who have been wounded by a negative father archetype have a choice either to stay victims of patriarchy and our own internalized tyrant, or to mature and take responsibility for our lives. Authenticity, voice, and independence are gained as women find the courage to face their negative masculine archetype.
In contrast to Electra, the ancient Sumerian goddess, Inanna, takes responsibility for her journey towards wholeness. The myth of Inanna, when interpreted from a depth psychological perspective, is relevant for women today. For, like Inanna, one must make a descent into the depths to confront the hidden, repressed, and split-off aspects of one's personality. An ego death is necessary to discover one's authentic self and attain wholeness; without the death of the old, nothing new can be born.
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This production-type dissertation explores the relationship between art-making, and theoretical reflections to apply what Wendy Doniger describes as "the double vision of the human microscope and cosmic telescope" to the subject of creativity (25). Specifically, this dissertation relates one woman's experience of the Feminine as this archetype is encountered in experiential aspect of this engagement illustrates how the Feminine functions as an essential factor in a female artist's creative development. This argument is positioned within a discussion of art-making that emphasizes feeling, form, and meaning as foundation elements in a creative process which is itself re-cast as contributing to the generation of myth
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Dreams are a primary medium of the unconscious, bringing its riches, both terrifying and benign, into consciousness to facilitate the integration between these two major terrains of the psyche. Typically dreams are explored as singular events, or only in a small series, in psychotherapy or in other methods of hermeneutical interpretations in which the individual desires personal psychological growth.
As a literary genre, epic is the most inclusive and perhaps most universal and ongoing structure of the psyche as well as an enveloping genre of soul's terrain that can be known if it is expressed poetically or empirically through the unique method used in this dissertation which can trace its patterns. In this production-type dissertation, dreams from a journal kept for a decade are combined to embody many of the patterns of epic as a poetic genre. By combining dreams over such an extended period of time, this created epic captures and makes visible Psyche's movement.
The Serpent and The Rose was written by re-activating the dreams and engaging the dreams as, initially, creative instruments of Psyche. They emerged from the unconscious as its creative eruption into consciousness. I used active imagination to move into the dreamscapes to be receptive to and in mimesis with Psyche in the recreation of the dreams. During this process the exercise of active imagination expanded the dreams by inviting more insights into the dream figures. It also continued the dreams in a waking state which allowed Psyche to combine the dreams in a narrative form that I consciously crafted from what I have learned of epic structure.
The theoretical analysis demonstrates the epic nature of the combined dreams and soul's movement throughout the narrative by using the hermeneutic of bringing together the epic genre, analytical psychology, archetypal psychology, and mythology. Identifying the archetypes, mythologies and mythemes revealed in the dreams shows their relevance to the goal of the epic journey: to retrieve the culture's original mythology, reformulate it, and refound the cultural mythology that no longer supports the culture because it had lost its psychological grounding.
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Horses and donkeys partner with humans to bring the multi-sensory gifts of alignment and adjustment to the less able, the unable, and the disabled. Hippo(horse) and ono(donkey) therapy engage the physical, cognitive, emotional, behavioral, spiritual, and storied lives of people in an actual arena for healing. Myths, folklore, and fairy-tale reflect the tenets of equine-assisted therapy, reinforcing and resurfacing the foundational power of a practice whose worth is already acclaimed through medical evidence.
Energy released by the volatile combination of my two lifetime passions, equines and literature, inspired this extensive exploration into the wide-ranging territory of myths, fairy tales, folklore, and rituals about horses and donkeys. Personal experience of equine-assisted therapy, volunteer work in a therapeutic riding program, attendance at numerous conferences, and the establishment of a now fully functioning therapeutic center at my own farm have emerged from and merged with the writing of this dissertation. The study is inevitably heuristic, evidencing as it does the reflection of internal enthusiasm in external phenomena. Both story and therapy are viewed through the lens of depth psychology and mythology.
Stories and myths are templates for healing: humans are humbled into donkeys and realize their own potential; magic horses leap with their underprivileged riders to great heights of heroism. We invoke the winged Pegasus as we ask a disabled child to balance on the horse's back with arms akimbo. We mount with Apollo in his chariot of the sun when we ride behind a donkey in a specially adapted cart for the handicapped.
The ancient god Silenus and his understudy, Dionysus, stand by when we ask the ass to share its wisdom, compassion, and persistence. The half-horse, half-man centaur, Chiron, presides over the healing of both humans and animals in any treatment that relies on the human animal bond. From mighty myth to humble tale, the mythological perspective enriches enormously the field of equine-assisted therapy.
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Artists have long invoked the Muses through prayer, active imagination, dreams, memory, and reverie, windows through which unconscious material becomes conscious in the creative process. This dissertation explores both the imaginal and the theoretical domains that constitute a production dissertation. This dissertation consists of two parts: //Esse Livingston and Her Dolls//, a novel; and "A Midlife Journey of Creativity, Ritual, and Play," a theoretical examination of themes implicit in the novel. The protagonist, Esse Livingston, wakes from a dream that predicts the date of her death, a revelation that begins her spiritual journey. The theoretical section that follows provides an in-depth discussion of the following themes: creativity, ritual, play, and story.
Jung's ideas are predominant in this discussion of the creative process and most specifically of creativity itself, the first theme addressed in the theoretical section. Of particular interest is his discussion of psychological and visionary art, his mistrust of the anima figure who values his mandalas as art, and his dislike of fragmented modern art.
Ritual is the second theme addressed. The novel unconsciously follows the steps inherent in "rites of passage" outlined by anthropologist Arnold Van Gennep within the archetype of "the hero's journey" by mythologist Joseph Campbell. The underlying ritual of the novel, Esse's journey into death and her return, embodies a mimetic action of the hero's and the heroine's inevitable journey toward wholeness. Midlife seems an appropriate time for such a journey because, as Jung notes, it is a time of spiritual and psychological growth, possibly the last chance to reconnect with unconscious goals. Play, then, is treated as the most imaginal process engaged by the hero and heroine to establish this crucial reconnection, particularly as play occurs in the liminal space between real and pretend. Such is the importance of the archetypal role of dolls in the lives of children and adults.
The final theme is explored in the last chapter of the theoretical section of the dissertation: telling one's story , the necessary gift which completes the journey and is bestowed on the community when the hero or heroine returns.
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This study focuses on Euripides's tragedy the Bacchae . The traditional approach interprets the tragedy as an expression of the polarized relationship between Apollonian and Dionysian forces within the psyche. Our conscious and rational ways of perceiving reality are guided by Apollo, and our unconscious and instinctual ways of perceiving reality are guided by Dionysus. The thesis argues that by reducing interpretations to this dichotomy, traditional approaches tend to be abstract and conceptual. As a result, they have not maintained a strong connection to the specific images contained in the tragedy.
The central image in the Bacchae is comprised of the two embodied individuals who conflict with one another onstage—Pentheus, the king of Thebes, and Dionysus, disguised as a mortal. Pentheus exhibits attributes which are specifically anti-Dionysian—he is obsessed with the need to maintain rigid order and control, he has a puritanical set of moral values, and he places a high priority on physically separating the civilized inner world of Thebes from the uncivilized outer world. In contrast, Dionysus displays attributes that diametrically set him apart from Pentheus. He is opposed to orderliness, and he is playful, licentious, bestial, and sexual.
The thesis provides evidence that the Pentheus-Dionysus image from the Bacchae has reappeared in many creative works in Western culture over the last four hundred years. This evidence indicates that there may be archetypal aspects to the image which reside in the collective unconscious of the Western psyche. The paired image appears in several classics of literature—William Shakespeare's Othello, Herman Melville's Moby-Dick , and Ken Kesey's One Flew over the Cuckoo's Nest . The image also appears in popular contemporary culture in Thomas Harris's Silence of the Lambs and the movie Pleasantville . The appeal of these versions of the original tragedy reflects the timelessness of its themes and the ongoing power of its images.
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<<link 1676347471>>
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//Experientia Testi Est// reveals the transformation of a beleaguered soul into a soul with an awakened heart, not only conscious of its suffering, but also protected and renewed by a deep connection to the archetypal Self. This study investigates the nature of the relationships that exist between alchemical imagery, the clinical presentation, and the psychotherapeutic processes of depth psychology.
The five illustrations of Les Vaisseaux D'Hermes, an anonymously illumined alchemical manuscript, circa 1700, serve as the armature of this hermeneutic dissertation. Entering the hermeneutic circle through the title page, alchemy's historical roots in metallurgy and ancient initiatory practices are shown to be fundamental to understanding the processes and products of transformation.
The methodology, grounded in Jungian theory and alchemical procedures, begins with a meta-analysis of illustrations two through five by dividing them into four quadrants: Conscious Spirit, Unconscious Spirit, Unconscious Matter, and Conscious Matter. Each quadrant, in illustrations 2 through 4, is subjected to five alchemical operations analyzing the dominant and dynamic elements, the interplay of dominant and subtle elements, the researcher's transference and countertransference responses, observations pertaining to astrological time, and the numbers of elements. The fifth illustration, a Rosicrucian emblem with a quaternary structure, is subjected, as a whole; to the five operations.
The hermeneutic method employed throughout this study interweaves theoretical, clinical, and historical sources, punctuated by contemporary events, with dreams and other amplificatory material germane to a depth psychological understanding of these unusual images. The entire work thus becomes an ongoing conversation between theorists, clinicians, alchemists, cultural historians, the researcher, and the manuscript.
The alchemical images prove to be relevant to contemporary clinical practice. Dismemberment, depicted in the second illustration, gave rise to the hypothesis that traumatic events were projected into the alchemist's observations about the matter in the flask and its subsequent transformations. The theoretical constructs of self psychology, object relations, and Jungian psychology in conjunction with these alchemical images, aid in understanding the presenting clinical picture, intrapsychic structure, selfobject functions and their evolution. The final illustration, an example of structural integration, supports Jung's contention that individuation is powerful medicine for healing the wounded psyche.
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This production dissertation focuses on a curriculum for teenagers entitled //Getting Reel: Personally Connecting the Archetypes in Teen Films//. The curriculum examines the major themes of adolescence from an archetypal perspective and links them to American teen films from 1970 to the present. Adolescence is not a consistent journey from pre-teen to high school graduate. Teenagers experience a journey full of disappointments, questions, and revelations. Relationships are changed daily, boundaries are pushed, and hearts are broken.
This dissertation is comprised of two parts: (1) an analysis of depth psychology, mythology, council, and film and (2) a curriculum that outlines how to use teen film to teach the above subjects to teenagers. In addition, this work explores cinema studies and links film to archetypal psychology. It explains a communication process called council and demonstrates the necessity of having a method for students to connect films to themselves and others.
The curriculum utilizes myths from antiquity and other cultures to demonstrate how the same basic scenarios continue to influence contemporary American youth films and can serve as a springboard for class discussions about the personal stories that the films activate. Two concerns guide the curriculum: The first goal is to provide students with an opportunity to think critically about film by developing the ability to recognize archetypal patterns on the screen and within themselves. The second goal is to inspire and encourage authentic conversations about central teen issues that will allow a student to recognize that he or she is both unique and not alone.
The curriculum makes mythology accessible to adolescents and demonstrates how depth psychology and ritual can be utilized in a practical way in the classroom. The aim of this work is to inspire educators to go beyond the boundaries of the classroom to engage teenagers in the life of the psyche.
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<<pl 909971792>>
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Genocide, the intentional destruction or debilitation of one group by another, has been evidenced throughout the history of humanity and is present today. It is the manifestation of an extreme negative response from the self , as a collective, toward others. This study poses the questions: What is the impetus behind genocidal responses to the external other? What are the common characteristics of genocidal events? Is it possible to bring an end to the gravest of crimes?
The myriad complexities of genocidal behavior are presented through an analysis of sociological, psychological, and mythological dynamics that have provoked past genocidal events and are attendant in current critical situations. This study probes the means whereby the victim group is identified, rendered vulnerable, dehumanized, and characterized as deserving of annihilation.
Examination of twelve genocides dating from Antiquity to the twentieth century reveals common sociological elements. A desire for expansion of power, territory, and wealth is noted as the dominant provocation of early genocides. Later genocides were provoked or facilitated by varying combinations of war, governments in transition, modernity, and economic instability. These prevailing conditions were aggravated by ideologies embodied in social and political policies, racism, ethnocentrism, classism, and religious conflicts.
These sociological dynamics that manifest at a conscious level are fostered by unconscious psychological dynamics. The contributing depth psychological processes explored include projection of shadow material, scapegoating, good battling evil, fear of death, greed, and the will to power.
Guiding both the sociological and psychological aspects of genocidal behavior are archetypal energies expressed through myth. The mythological themes discussed that are most relevant to genocidal acts are utopian visions, heroism, and violence.
Three current circumstances that are likely to provoke future genocides, if allowed to persist, are also evaluated: economic globalization, scarcity of natural resources, and the presence of nuclear weapons. The study ends with an analysis of conditions that provide hope for the future, including the arising of a new myth that will usher humanity toward a more compassionate and tolerant disposition wherein the self is recognized in the other.
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This dissertation explores the idea of personal mythology as an approach for engaging in the search for a more personal relationship to the sacred. Underlying this work is a concern with the post-modern dilemma of how to approach religious renewal in an age dominated by a reductionistic, materialistically oriented secularism on the one hand and dogmatic religious fundamentalisms on the other. Seeking to avoid both the demythologizing tendency of secularism and the equally damaging tendency of fundamentalism to literalize archetypal and mythic material, this dissertation explores the possibility of a third alternative. That alternative approach requires an ongoing personal engagement with both the world's religious and mythological traditions and the sacred dimension of each individual's life story from a perspective that is inherently symbolic, metaphorical, archetypal, and imaginal.
This work is interdisciplinary in nature and draws on content from the fields of comparative mythology, religious studies, and depth psychology. It is hermeneutical in approach, exploring and synthesizing this varied content in order to explicate the concept of personal mythology as a religious endeavor. In doing so, this dissertation first focuses on the evolution of the concept of personal mythology over the past century. Secondly, it explores a range of contemporary theological approaches for understanding the nature of the sacred, of divinity, and of religious faith that make sense in relationship to the concept of personal mythology. Thirdly, this work explores ways in which personal mythology effectively synthesizes insights drawn from both depth psychology and religion. Fourthly, it focuses on relevant aspects of the work of Joseph Campbell and C. G. Jung, two individuals who have played key roles in conceptualizing the contemporary mythological approach to the religious domain of life. Lastly, this dissertation proposes the concept of "faith in the journey" as a metaphor for the religious implications of exploring one's personal mythology. In this context, it is argued that seeking the sacred through the mythic text of one's life leads to a personal form of religious faith predicated on a profound sense on the inherent rightness and necessity of one's unique life journey.
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The Greek word for soul is psyche, which also translates as breath, the divine breath that animates all living things. Birds, as animal guides in myth, serve as a powerful connection to the soul; the very nature of a bird's movement is to swim in the divine breath, air. If, as the ancient Greeks maintain, the soul too is part of this divine breath, then it has a special relation to the winged animals that inhabit the element of air.
Mythology can be defined as a narrative that carries one back and forth between this world and a timeless otherworld, and also as a vehicle for archetypal patterns that serve as reflections of our own inner nature. These archetypal patterns provide a blueprint for each individual's journey toward apotheosis, a connection with one's own divine essence, the soul. The heroes of myth consistently experience a transcendent life-altering experience with the divine through their archetypal journeys, through the core elements of shamanism, and most importantly, through the guidance and inspiration of winged animals, including swan, turkey, vulture, and dove.
Celtic, Greek, Roman, Navajo, Hindu, Buddhist, Islamic, Jewish, and Christian mythologies and literary traditions reveal the essential role of the winged animal helper in achieving a wholeness and harmonic balance of the individual and community. With special attention to Marie Louise von Franz's depth psychological finding that the advice of the animal helper is essential to human success, study of the shaman's role in relationship to animals in each selected culture, and analysis of the appearance of animals that provide the necessary guidance in the Call to Adventure stage of the heroes' journeys, it is clear a relationship of mutual respect and harmony between animals and humans is an essential component to a spiritually fulfilled and inspired life.
The study concludes with recent stories of winged animals and their effects on the lives and psyches of contemporary individuals. Today, as in the ancient myths, their presence, whether in our homes, backyards, or the wilderness, is a reminder that the inspiration of the animal helper is only a breath away.
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This production-style dissertation deals with invisible presences—recalled through the myth of Demeter and Persephone—and remembered forward through //Finding Grace// giving it its identity, shape, and form. It explores what memories, dreams, and imagination have to say about motherhood now, about today's daughter and tomorrow's mother, ultimately uncovering a reality—intimately linked with the human body as a social construction—that is waiting to be discovered there.
//Finding Grace// is a novel-length re-visioning of the Demeter/Persephone myth, or more precisely, Demeter and Persephone as they appear in the Homeric Hymn to Demeter . Anne Blackwell is forced to watch as her daughter, Grace, is brutally violated by the same person who once assaulted her. Rape, in this particular instance, however, serves to underscore how rape is always a mother's tragedy but not necessarily the victim's. Forced into accepting Grace's fate as separate from her own, Anne is finally brought wholly into what it means to be a mother, while at the same time she finds grace in and through her daughter, Grace.
Though deeply tormented and still suffering, Anne accepts Grace's right to her own version of the rape, to her own story, which is ultimately a recognition and an acceptance, on Anne's part, of their separateness. Thus, she is returned to "common unhappiness," to borrow a term from Freud. For Anne, to be returned to common unhappiness is to find grace. It means that a part of her personal anguish, her despair and anger, are released so that at long last, she is initiated into what it means to be a mother. She is finally willing to suffer humanly, to be a mother, to be a woman, to be an en-souled being in the full spectrum of all that means. She has descended to the underworld and by an act of grace, and through her daughter Grace, Anne has also been given the gift of ascent and is thereby returned to the creative burden of her own existence.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765190661&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<<
Footprints at Tesetice began as an investigation of the Neolithic origins of the female divine and their continued reflection in contemporary life. I set to work learning a language I needed for survival in the Czech Republic, and I heard remembered inklings of the language of my grandmothers. The archaeological excavation that had turned into an artistic excavation had also become a psychological excavation. Two years of art installation, human interaction, and scholarly research revealed layers of origins: my origins as a second-generation Central European immigrant, the Czech artists' origins as contemporary, Europeans, and the culture's origins grounded in sacred story first told before written language.
Central Europe has long been hidden behind veils. Countries here swirled together first as the Austro-Hungarian empire, then as parts of Germany, and most recently were swallowed up by the USSR. In our Western European chauvinism, we falsely assumed that the tiny country of Czechoslovakia was either merely a shadow of its neighbors, echoing their culture and psychology, or simply a wide space in the road trampled by successive conquerors.
Archaeological evidence points to 250,000 years of nearly continuous human settlement in what is now Czech Republic. Like waves on a beach, an ebb and flow or cultures has passed across this land; depositing new bits and re-arranging the old ones. The Czechs are tenacious, however, holding onto their customs—one strategy for retaining identity in the face of repeated colonization. Stories there are told over and over, dressed in new clothes for each retelling.
Our team listened with the mythologist's ear and looked with the artist's eye. We heard the early stories held in the Neolithic stones: stories of abundance, stories of thankfulness, stories of continuation. Those ancient stories are present in contemporary religious practice, remembered village customs, and traditional design motifs.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=728864361&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
/***
|''Name:''|ForEachTiddlerPlugin|
|''Version:''|1.0.8 (2007-04-12)|
|''Source:''|http://tiddlywiki.abego-software.de/#ForEachTiddlerPlugin|
|''Author:''|UdoBorkowski (ub [at] abego-software [dot] de)|
|''Licence:''|[[BSD open source license (abego Software)|http://www.abego-software.de/legal/apl-v10.html]]|
|''Copyright:''|© 2005-2007 [[abego Software|http://www.abego-software.de]]|
|''TiddlyWiki:''|1.2.38+, 2.0|
|''Browser:''|Firefox 1.0.4+; Firefox 1.5; InternetExplorer 6.0|
!Code
***/
//{{{
//============================================================================
//============================================================================
// ForEachTiddlerPlugin
//============================================================================
//============================================================================
// Only install once
if (!version.extensions.ForEachTiddlerPlugin) {
if (!window.abego) window.abego = {};
version.extensions.ForEachTiddlerPlugin = {
major: 1, minor: 0, revision: 8,
date: new Date(2007,3,12),
source: "http://tiddlywiki.abego-software.de/#ForEachTiddlerPlugin",
licence: "[[BSD open source license (abego Software)|http://www.abego-software.de/legal/apl-v10.html]]",
copyright: "Copyright (c) abego Software GmbH, 2005-2007 (www.abego-software.de)"
};
// For backward compatibility with TW 1.2.x
//
if (!TiddlyWiki.prototype.forEachTiddler) {
TiddlyWiki.prototype.forEachTiddler = function(callback) {
for(var t in this.tiddlers) {
callback.call(this,t,this.tiddlers[t]);
}
};
}
//============================================================================
// forEachTiddler Macro
//============================================================================
version.extensions.forEachTiddler = {
major: 1, minor: 0, revision: 8, date: new Date(2007,3,12), provider: "http://tiddlywiki.abego-software.de"};
// ---------------------------------------------------------------------------
// Configurations and constants
// ---------------------------------------------------------------------------
config.macros.forEachTiddler = {
// Standard Properties
label: "forEachTiddler",
prompt: "Perform actions on a (sorted) selection of tiddlers",
// actions
actions: {
addToList: {},
write: {}
}
};
// ---------------------------------------------------------------------------
// The forEachTiddler Macro Handler
// ---------------------------------------------------------------------------
config.macros.forEachTiddler.getContainingTiddler = function(e) {
while(e && !hasClass(e,"tiddler"))
e = e.parentNode;
var title = e ? e.getAttribute("tiddler") : null;
return title ? store.getTiddler(title) : null;
};
config.macros.forEachTiddler.handler = function(place,macroName,params,wikifier,paramString,tiddler) {
// config.macros.forEachTiddler.traceMacroCall(place,macroName,params,wikifier,paramString,tiddler);
if (!tiddler) tiddler = config.macros.forEachTiddler.getContainingTiddler(place);
// --- Parsing ------------------------------------------
var i = 0; // index running over the params
// Parse the "in" clause
var tiddlyWikiPath = undefined;
if ((i < params.length) && params[i] == "in") {
i++;
if (i >= params.length) {
this.handleError(place, "TiddlyWiki path expected behind 'in'.");
return;
}
tiddlyWikiPath = this.paramEncode((i < params.length) ? params[i] : "");
i++;
}
// Parse the where clause
var whereClause ="true";
if ((i < params.length) && params[i] == "where") {
i++;
whereClause = this.paramEncode((i < params.length) ? params[i] : "");
i++;
}
// Parse the sort stuff
var sortClause = null;
var sortAscending = true;
if ((i < params.length) && params[i] == "sortBy") {
i++;
if (i >= params.length) {
this.handleError(place, "sortClause missing behind 'sortBy'.");
return;
}
sortClause = this.paramEncode(params[i]);
i++;
if ((i < params.length) && (params[i] == "ascending" || params[i] == "descending")) {
sortAscending = params[i] == "ascending";
i++;
}
}
// Parse the script
var scriptText = null;
if ((i < params.length) && params[i] == "script") {
i++;
scriptText = this.paramEncode((i < params.length) ? params[i] : "");
i++;
}
// Parse the action.
// When we are already at the end use the default action
var actionName = "addToList";
if (i < params.length) {
if (!config.macros.forEachTiddler.actions[params[i]]) {
this.handleError(place, "Unknown action '"+params[i]+"'.");
return;
} else {
actionName = params[i];
i++;
}
}
// Get the action parameter
// (the parsing is done inside the individual action implementation.)
var actionParameter = params.slice(i);
// --- Processing ------------------------------------------
try {
this.performMacro({
place: place,
inTiddler: tiddler,
whereClause: whereClause,
sortClause: sortClause,
sortAscending: sortAscending,
actionName: actionName,
actionParameter: actionParameter,
scriptText: scriptText,
tiddlyWikiPath: tiddlyWikiPath});
} catch (e) {
this.handleError(place, e);
}
};
// Returns an object with properties "tiddlers" and "context".
// tiddlers holds the (sorted) tiddlers selected by the parameter,
// context the context of the execution of the macro.
//
// The action is not yet performed.
//
// @parameter see performMacro
//
config.macros.forEachTiddler.getTiddlersAndContext = function(parameter) {
var context = config.macros.forEachTiddler.createContext(parameter.place, parameter.whereClause, parameter.sortClause, parameter.sortAscending, parameter.actionName, parameter.actionParameter, parameter.scriptText, parameter.tiddlyWikiPath, parameter.inTiddler);
var tiddlyWiki = parameter.tiddlyWikiPath ? this.loadTiddlyWiki(parameter.tiddlyWikiPath) : store;
context["tiddlyWiki"] = tiddlyWiki;
// Get the tiddlers, as defined by the whereClause
var tiddlers = this.findTiddlers(parameter.whereClause, context, tiddlyWiki);
context["tiddlers"] = tiddlers;
// Sort the tiddlers, when sorting is required.
if (parameter.sortClause) {
this.sortTiddlers(tiddlers, parameter.sortClause, parameter.sortAscending, context);
}
return {tiddlers: tiddlers, context: context};
};
// Returns the (sorted) tiddlers selected by the parameter.
//
// The action is not yet performed.
//
// @parameter see performMacro
//
config.macros.forEachTiddler.getTiddlers = function(parameter) {
return this.getTiddlersAndContext(parameter).tiddlers;
};
// Performs the macros with the given parameter.
//
// @param parameter holds the parameter of the macro as separate properties.
// The following properties are supported:
//
// place
// whereClause
// sortClause
// sortAscending
// actionName
// actionParameter
// scriptText
// tiddlyWikiPath
//
// All properties are optional.
// For most actions the place property must be defined.
//
config.macros.forEachTiddler.performMacro = function(parameter) {
var tiddlersAndContext = this.getTiddlersAndContext(parameter);
// Perform the action
var actionName = parameter.actionName ? parameter.actionName : "addToList";
var action = config.macros.forEachTiddler.actions[actionName];
if (!action) {
this.handleError(parameter.place, "Unknown action '"+actionName+"'.");
return;
}
var actionHandler = action.handler;
actionHandler(parameter.place, tiddlersAndContext.tiddlers, parameter.actionParameter, tiddlersAndContext.context);
};
// ---------------------------------------------------------------------------
// The actions
// ---------------------------------------------------------------------------
// Internal.
//
// --- The addToList Action -----------------------------------------------
//
config.macros.forEachTiddler.actions.addToList.handler = function(place, tiddlers, parameter, context) {
// Parse the parameter
var p = 0;
// Check for extra parameters
if (parameter.length > p) {
config.macros.forEachTiddler.createExtraParameterErrorElement(place, "addToList", parameter, p);
return;
}
// Perform the action.
var list = document.createElement("ul");
place.appendChild(list);
for (var i = 0; i < tiddlers.length; i++) {
var tiddler = tiddlers[i];
var listItem = document.createElement("li");
list.appendChild(listItem);
createTiddlyLink(listItem, tiddler.title, true);
}
};
abego.parseNamedParameter = function(name, parameter, i) {
var beginExpression = null;
if ((i < parameter.length) && parameter[i] == name) {
i++;
if (i >= parameter.length) {
throw "Missing text behind '%0'".format([name]);
}
return config.macros.forEachTiddler.paramEncode(parameter[i]);
}
return null;
}
// Internal.
//
// --- The write Action ---------------------------------------------------
//
config.macros.forEachTiddler.actions.write.handler = function(place, tiddlers, parameter, context) {
// Parse the parameter
var p = 0;
if (p >= parameter.length) {
this.handleError(place, "Missing expression behind 'write'.");
return;
}
var textExpression = config.macros.forEachTiddler.paramEncode(parameter[p]);
p++;
// Parse the "begin" option
var beginExpression = abego.parseNamedParameter("begin", parameter, p);
if (beginExpression !== null)
p += 2;
var endExpression = abego.parseNamedParameter("end", parameter, p);
if (endExpression !== null)
p += 2;
var noneExpression = abego.parseNamedParameter("none", parameter, p);
if (noneExpression !== null)
p += 2;
// Parse the "toFile" option
var filename = null;
var lineSeparator = undefined;
if ((p < parameter.length) && parameter[p] == "toFile") {
p++;
if (p >= parameter.length) {
this.handleError(place, "Filename expected behind 'toFile' of 'write' action.");
return;
}
filename = config.macros.forEachTiddler.getLocalPath(config.macros.forEachTiddler.paramEncode(parameter[p]));
p++;
if ((p < parameter.length) && parameter[p] == "withLineSeparator") {
p++;
if (p >= parameter.length) {
this.handleError(place, "Line separator text expected behind 'withLineSeparator' of 'write' action.");
return;
}
lineSeparator = config.macros.forEachTiddler.paramEncode(parameter[p]);
p++;
}
}
// Check for extra parameters
if (parameter.length > p) {
config.macros.forEachTiddler.createExtraParameterErrorElement(place, "write", parameter, p);
return;
}
// Perform the action.
var func = config.macros.forEachTiddler.getEvalTiddlerFunction(textExpression, context);
var count = tiddlers.length;
var text = "";
if (count > 0 && beginExpression)
text += config.macros.forEachTiddler.getEvalTiddlerFunction(beginExpression, context)(undefined, context, count, undefined);
for (var i = 0; i < count; i++) {
var tiddler = tiddlers[i];
text += func(tiddler, context, count, i);
}
if (count > 0 && endExpression)
text += config.macros.forEachTiddler.getEvalTiddlerFunction(endExpression, context)(undefined, context, count, undefined);
if (count == 0 && noneExpression)
text += config.macros.forEachTiddler.getEvalTiddlerFunction(noneExpression, context)(undefined, context, count, undefined);
if (filename) {
if (lineSeparator !== undefined) {
lineSeparator = lineSeparator.replace(/\\n/mg, "\n").replace(/\\r/mg, "\r");
text = text.replace(/\n/mg,lineSeparator);
}
saveFile(filename, convertUnicodeToUTF8(text));
} else {
var wrapper = createTiddlyElement(place, "span");
wikify(text, wrapper, null/* highlightRegExp */, context.inTiddler);
}
};
// ---------------------------------------------------------------------------
// Helpers
// ---------------------------------------------------------------------------
// Internal.
//
config.macros.forEachTiddler.createContext = function(placeParam, whereClauseParam, sortClauseParam, sortAscendingParam, actionNameParam, actionParameterParam, scriptText, tiddlyWikiPathParam, inTiddlerParam) {
return {
place : placeParam,
whereClause : whereClauseParam,
sortClause : sortClauseParam,
sortAscending : sortAscendingParam,
script : scriptText,
actionName : actionNameParam,
actionParameter : actionParameterParam,
tiddlyWikiPath : tiddlyWikiPathParam,
inTiddler : inTiddlerParam, // the tiddler containing the <<forEachTiddler ...>> macro call.
viewerTiddler : config.macros.forEachTiddler.getContainingTiddler(placeParam) // the tiddler showing the forEachTiddler result
};
};
// Internal.
//
// Returns a TiddlyWiki with the tiddlers loaded from the TiddlyWiki of
// the given path.
//
config.macros.forEachTiddler.loadTiddlyWiki = function(path, idPrefix) {
if (!idPrefix) {
idPrefix = "store";
}
var lenPrefix = idPrefix.length;
// Read the content of the given file
var content = loadFile(this.getLocalPath(path));
if(content === null) {
throw "TiddlyWiki '"+path+"' not found.";
}
var tiddlyWiki = new TiddlyWiki();
// Starting with TW 2.2 there is a helper function to import the tiddlers
if (tiddlyWiki.importTiddlyWiki) {
if (!tiddlyWiki.importTiddlyWiki(content))
throw "File '"+path+"' is not a TiddlyWiki.";
tiddlyWiki.dirty = false;
return tiddlyWiki;
}
// The legacy code, for TW < 2.2
// Locate the storeArea div's
var posOpeningDiv = content.indexOf(startSaveArea);
var posClosingDiv = content.lastIndexOf(endSaveArea);
if((posOpeningDiv == -1) || (posClosingDiv == -1)) {
throw "File '"+path+"' is not a TiddlyWiki.";
}
var storageText = content.substr(posOpeningDiv + startSaveArea.length, posClosingDiv);
// Create a "div" element that contains the storage text
var myStorageDiv = document.createElement("div");
myStorageDiv.innerHTML = storageText;
myStorageDiv.normalize();
// Create all tiddlers in a new TiddlyWiki
// (following code is modified copy of TiddlyWiki.prototype.loadFromDiv)
var store = myStorageDiv.childNodes;
for(var t = 0; t < store.length; t++) {
var e = store[t];
var title = null;
if(e.getAttribute)
title = e.getAttribute("tiddler");
if(!title && e.id && e.id.substr(0,lenPrefix) == idPrefix)
title = e.id.substr(lenPrefix);
if(title && title !== "") {
var tiddler = tiddlyWiki.createTiddler(title);
tiddler.loadFromDiv(e,title);
}
}
tiddlyWiki.dirty = false;
return tiddlyWiki;
};
// Internal.
//
// Returns a function that has a function body returning the given javaScriptExpression.
// The function has the parameters:
//
// (tiddler, context, count, index)
//
config.macros.forEachTiddler.getEvalTiddlerFunction = function (javaScriptExpression, context) {
var script = context["script"];
var functionText = "var theFunction = function(tiddler, context, count, index) { return "+javaScriptExpression+"}";
var fullText = (script ? script+";" : "")+functionText+";theFunction;";
return eval(fullText);
};
// Internal.
//
config.macros.forEachTiddler.findTiddlers = function(whereClause, context, tiddlyWiki) {
var result = [];
var func = config.macros.forEachTiddler.getEvalTiddlerFunction(whereClause, context);
tiddlyWiki.forEachTiddler(function(title,tiddler) {
if (func(tiddler, context, undefined, undefined)) {
result.push(tiddler);
}
});
return result;
};
// Internal.
//
config.macros.forEachTiddler.createExtraParameterErrorElement = function(place, actionName, parameter, firstUnusedIndex) {
var message = "Extra parameter behind '"+actionName+"':";
for (var i = firstUnusedIndex; i < parameter.length; i++) {
message += " "+parameter[i];
}
this.handleError(place, message);
};
// Internal.
//
config.macros.forEachTiddler.sortAscending = function(tiddlerA, tiddlerB) {
var result =
(tiddlerA.forEachTiddlerSortValue == tiddlerB.forEachTiddlerSortValue)
? 0
: (tiddlerA.forEachTiddlerSortValue < tiddlerB.forEachTiddlerSortValue)
? -1
: +1;
return result;
};
// Internal.
//
config.macros.forEachTiddler.sortDescending = function(tiddlerA, tiddlerB) {
var result =
(tiddlerA.forEachTiddlerSortValue == tiddlerB.forEachTiddlerSortValue)
? 0
: (tiddlerA.forEachTiddlerSortValue < tiddlerB.forEachTiddlerSortValue)
? +1
: -1;
return result;
};
// Internal.
//
config.macros.forEachTiddler.sortTiddlers = function(tiddlers, sortClause, ascending, context) {
// To avoid evaluating the sortClause whenever two items are compared
// we pre-calculate the sortValue for every item in the array and store it in a
// temporary property ("forEachTiddlerSortValue") of the tiddlers.
var func = config.macros.forEachTiddler.getEvalTiddlerFunction(sortClause, context);
var count = tiddlers.length;
var i;
for (i = 0; i < count; i++) {
var tiddler = tiddlers[i];
tiddler.forEachTiddlerSortValue = func(tiddler,context, undefined, undefined);
}
// Do the sorting
tiddlers.sort(ascending ? this.sortAscending : this.sortDescending);
// Delete the temporary property that holds the sortValue.
for (i = 0; i < tiddlers.length; i++) {
delete tiddlers[i].forEachTiddlerSortValue;
}
};
// Internal.
//
config.macros.forEachTiddler.trace = function(message) {
displayMessage(message);
};
// Internal.
//
config.macros.forEachTiddler.traceMacroCall = function(place,macroName,params) {
var message ="<<"+macroName;
for (var i = 0; i < params.length; i++) {
message += " "+params[i];
}
message += ">>";
displayMessage(message);
};
// Internal.
//
// Creates an element that holds an error message
//
config.macros.forEachTiddler.createErrorElement = function(place, exception) {
var message = (exception.description) ? exception.description : exception.toString();
return createTiddlyElement(place,"span",null,"forEachTiddlerError","<<forEachTiddler ...>>: "+message);
};
// Internal.
//
// @param place [may be null]
//
config.macros.forEachTiddler.handleError = function(place, exception) {
if (place) {
this.createErrorElement(place, exception);
} else {
throw exception;
}
};
// Internal.
//
// Encodes the given string.
//
// Replaces
// "$))" to ">>"
// "$)" to ">"
//
config.macros.forEachTiddler.paramEncode = function(s) {
var reGTGT = new RegExp("\\$\\)\\)","mg");
var reGT = new RegExp("\\$\\)","mg");
return s.replace(reGTGT, ">>").replace(reGT, ">");
};
// Internal.
//
// Returns the given original path (that is a file path, starting with "file:")
// as a path to a local file, in the systems native file format.
//
// Location information in the originalPath (i.e. the "#" and stuff following)
// is stripped.
//
config.macros.forEachTiddler.getLocalPath = function(originalPath) {
// Remove any location part of the URL
var hashPos = originalPath.indexOf("#");
if(hashPos != -1)
originalPath = originalPath.substr(0,hashPos);
// Convert to a native file format assuming
// "file:///x:/path/path/path..." - pc local file --> "x:\path\path\path..."
// "file://///server/share/path/path/path..." - FireFox pc network file --> "\\server\share\path\path\path..."
// "file:///path/path/path..." - mac/unix local file --> "/path/path/path..."
// "file://server/share/path/path/path..." - pc network file --> "\\server\share\path\path\path..."
var localPath;
if(originalPath.charAt(9) == ":") // pc local file
localPath = unescape(originalPath.substr(8)).replace(new RegExp("/","g"),"\\");
else if(originalPath.indexOf("file://///") === 0) // FireFox pc network file
localPath = "\\\\" + unescape(originalPath.substr(10)).replace(new RegExp("/","g"),"\\");
else if(originalPath.indexOf("file:///") === 0) // mac/unix local file
localPath = unescape(originalPath.substr(7));
else if(originalPath.indexOf("file:/") === 0) // mac/unix local file
localPath = unescape(originalPath.substr(5));
else // pc network file
localPath = "\\\\" + unescape(originalPath.substr(7)).replace(new RegExp("/","g"),"\\");
return localPath;
};
// ---------------------------------------------------------------------------
// Stylesheet Extensions (may be overridden by local StyleSheet)
// ---------------------------------------------------------------------------
//
setStylesheet(
".forEachTiddlerError{color: #ffffff;background-color: #880000;}",
"forEachTiddler");
//============================================================================
// End of forEachTiddler Macro
//============================================================================
//============================================================================
// String.startsWith Function
//============================================================================
//
// Returns true if the string starts with the given prefix, false otherwise.
//
version.extensions["String.startsWith"] = {major: 1, minor: 0, revision: 0, date: new Date(2005,11,20), provider: "http://tiddlywiki.abego-software.de"};
//
String.prototype.startsWith = function(prefix) {
var n = prefix.length;
return (this.length >= n) && (this.slice(0, n) == prefix);
};
//============================================================================
// String.endsWith Function
//============================================================================
//
// Returns true if the string ends with the given suffix, false otherwise.
//
version.extensions["String.endsWith"] = {major: 1, minor: 0, revision: 0, date: new Date(2005,11,20), provider: "http://tiddlywiki.abego-software.de"};
//
String.prototype.endsWith = function(suffix) {
var n = suffix.length;
return (this.length >= n) && (this.right(n) == suffix);
};
//============================================================================
// String.contains Function
//============================================================================
//
// Returns true when the string contains the given substring, false otherwise.
//
version.extensions["String.contains"] = {major: 1, minor: 0, revision: 0, date: new Date(2005,11,20), provider: "http://tiddlywiki.abego-software.de"};
//
String.prototype.contains = function(substring) {
return this.indexOf(substring) >= 0;
};
//============================================================================
// Array.indexOf Function
//============================================================================
//
// Returns the index of the first occurance of the given item in the array or
// -1 when no such item exists.
//
// @param item [may be null]
//
version.extensions["Array.indexOf"] = {major: 1, minor: 0, revision: 0, date: new Date(2005,11,20), provider: "http://tiddlywiki.abego-software.de"};
//
Array.prototype.indexOf = function(item) {
for (var i = 0; i < this.length; i++) {
if (this[i] == item) {
return i;
}
}
return -1;
};
//============================================================================
// Array.contains Function
//============================================================================
//
// Returns true when the array contains the given item, otherwise false.
//
// @param item [may be null]
//
version.extensions["Array.contains"] = {major: 1, minor: 0, revision: 0, date: new Date(2005,11,20), provider: "http://tiddlywiki.abego-software.de"};
//
Array.prototype.contains = function(item) {
return (this.indexOf(item) >= 0);
};
//============================================================================
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if (this.contains(items[i])) {
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return false;
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//============================================================================
// Array.containsAll Function
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// Returns true when the array contains all the items, otherwise false.
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// When items is null false is returned (even if the array contains a null).
//
// @param items [may be null]
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// Used Globals (for JSLint) ==============
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The postmodern world in which we live presents us with a different paradigm from the modern worldview of just fifty years ago. Thus, in order to comprehend and interpret myth today requires a more expansive approach inclusive of many different viewpoints or perspectives involving varied fields of inquiry combined with our personal and individual mythic experience. The new hermeneutics of myth entertains certain aspects of perception and approach as a basis and preparation for encountering myth—the eleven indicators of mythic context. These indicators help to clarify mythic intent and aid in the approach and encountering of the myth itself.
The myth of forty days and forty nights in the wilderness is the subject of this technique of mythic comprehension and interpretation. This mythic case study examines the myth in terms of its primary archetypal elements—aloneness, wilderness, place, and time—theoretically through the lenses of depth psychological, philosophical, hermeneutic, mythological, religious, scientific, and indigenous perspectives, and experientially through ritual practice. Once these mythic archetypal components are explored and understood within and as themselves, they create an essential and foundational basis upon which to present the myth as a whole.
The myth of the wilderness vigil is revealed in its organic wholeness. Within this context, the transformational process is followed through its various stages from psychological, alchemical, and dialectic perspectives, as well as from ritual experience. Myth is recognized as theoretical and ritual as practical. In conclusion, a synthesis of modern and postmodern thought and practice is arrived at through a more complete understanding of myth. The viewpoint of synthesis, transcendent and immanent in nature, points in new mythic directions, allowing us to be a living part of a world of change and transition as well as permanence. This new hermeneutic of myth is a clear expression of Jung's transcendent function. The paradigm of today's world is more fully recognized and experienced as both archetypally universal and multifaceted, differentiated archetypal expression working together within a wholeness paradoxically held together by its inherent tension of difference.
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The mythopoetic expressions of earth, wind, fire, and water in the Tanakh represent a dynamic mosaic "composed of symbols that express the movements, conflicts, interactions, and developments of the great energy systems within the unconscious" (Johnson 19).
Humankind in its beginning was made whole. In the likeness of the Creator's image, a single human being was created. By His word, "Adonai formed a person [ //adam// ] from the dust of the ground [ //adamah// ] and breathed into his nostrils the breath of life" (Genesis 2:7).
From the finest particles of earth, a form was molded to embody a G-d-breathed image of the Creator. The creature was shaped as a symbolic reflection of the divine likeness which waits for a call, for an asking of a journey. The call sets our feet upon the road to self-discovery. It is a journey to restore the fragmented parts within the self and to renew unity with others.
All creation is one. This vision weaves a thread from the beginnings of human life on earth to the end of days. G-d is continually calling the self back into wholeness through his covenanted way of living, a narrative which binds G-d, humankind, and nature into an intricate web of interdependency. This way of being first began in the garden where the Creator and his creation lived in oneness, ' //ehad//.
The archetypal state of wholeness exists in unbroken relationships with community. The images of earth, water, fire, and wind, as symbols, metaphors, and archetypes, lead the self through an inner journey, revealing the identity of the sacred in relationship to our own human condition. When the self steps onto the path of restoring this vision, she or he begins a walk of holiness, //qadosh//, a personal story of transformation leading to the presence of G-d.
As outward forms mediate the words of our ancient past, the narrative is sustained by the unfolding images, often in motion, found within story. The cultural memory of G-d's covenanted people mentors the self, as the dialogue is internalized. Such a moment allows for a restoration, //shalom//, with the Creator, for a renewed unity with Other and for a return to wholeness within the inner sanctuary of our own selves.
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Karl Marx wrote, long before Carl Jung or James Hillman, "the products of the human brain appear as autonomous figures endowed with a life of their own, which enter into relations with each other and with the human race." I have drawn upon this statement to explore the images which lie underneath the theory and practice of capitalism. Drawing first from the works of the philosophers of capitalism from various eras, I identify the philosophical, mythological, historical, and psychological images upon which their theories are based. To illustrate the profound effect of these images, I have put Adam Smith, Parson Malthus, Karl Marx, Thorstein Veblen, Max Weber, Ayn Rand, and Karl Polanyi in conversation with one another, each arguing in his or her own words. By teasing the images out of their works, we begin to see how economics and psychology have interacted over the last few centuries to remove the vitality form the social structure and replace it with "self-interested man."
After extracting the dogma from the theory and allowing the images and myths of capitalism to come alive through some imaginative play, it becomes clear that capitalism is far more than an economic system. This point is further illustrated through an exploration of capitalism as a mythology, as an ideology, and as a religion. Then alternative theoretical histories of capitalism are presented. One holds that capitalism is inevitable, another that history ends with capitalism. A third traces the history of greed, making the case that the current most prevalent form of capitalism allows the baser human instincts to flourish.
Finally, the images from early capitalism are updated, and the images driving the current system and behaviors are explored, illuminating capitalism as the central myth of modern society. With this background, and with the help of the ancient Greek deities, I offer suggestions for new images upon which to base our assumptions regarding human nature and economic/social relations. It is my hope that by making some of the unconscious aspects of present-day Western economics more conscious, a greater element of justice might be injected into the emerging global system.
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In one of its robust guises, the world of human experience presents a looming superabundance of potent, threatening forces. Deep-rooted ambivalence toward a phenomenal world encountered as overabundant to excess seems to arise in the twin human finitudes of a frail body and an ever-frustrated capacity of signification: the scale of this world and its frightening powers overwhelm the body, and provoke attempts to circumscribe or control these magnitudes with signs. The mythology of giants magnifies and serves to mitigate such ambivalence. This dissertation examines the West's historical reception of mythic giants to the threshold of the Middle Ages, sampling Greek and Roman myths, the Hebrew Scriptures, apocryphal texts, Midrash, historiographical works, and Christian Patristic writings.
My approach, which engages phenomenological, semiotic, and narrative theories, understands myth to create contingent meaning from the abysmal ambiguities of the life-world. Mythopoesis as a cardinal human signifying reflex 'posits' names, attributes, spatial coordinates, and genealogies for experienced and imagined powers. In doing so it also elaborates systems of classification that help define cultural and social identities. With respect to giants, this reflex issues in a particular imagination of space: the feared, overpowering 'Other' looms somewhere beyond a variously conceptualized horizon .
The rhetoric of myth frequently marks some Other as 'dangerous,' as existing 'outside' of culture. But besides this articulation in stories, basic human ambivalence is also instrumentalized through interpretive strategies. Myths of giants and related figures are often appropriated by later readers to proffer diverse 'authoritative' narratives aiming to secure particular spaces of culture over against the ambiguous lifeways of known or imagined others.
The mythic giants of the West's foundational literary traditions represent a kind of threshold, where human anxieties about identity and difference are both appealed to and projected. Typically, giants are depicted as excessively natural (often supernatural), as 'foreign,' combative, dynamic, destructive, transgressive, and atavistic.
Myths of giants reveal clear compositional intentions, a mode of discourse both poetical and ideological. Myth reception emerges from the study as an intertextual process of cultural history, bearing witness to ongoing human efforts to circumscribe the world's threatening overabundance, its ever-receding horizon of significance.
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Modern society tends to relegate the ecstatic to the fringe, recognizing its casual pursuit as frivolous, and its serious pursuit as dangerous addiction. The modern image of Dionysos, the Greek god of ecstasy, is a reflection of the society's view of the ecstatic. At best, Dionysos is remembered as a happy-go-lucky, boy-man encouraging us to a little bit of intoxication, naughtiness, dance and song—a degenerate, but charming, god of wine, women and song. At worst, he is equated with Satan—the evil tempter who draws us into the hell of addiction.
The perception of Dionysos in modern society (which is remarkably like the perception of Bacchus in Roman society) is a perception that was held in Classical Greece, whose city states, at least in myth, resisted the influence of the god. However, this was not the only, or even the dominant, perception. Large portions of the population engaged in a cult worship of Dionysos that acknowledged a deeper religious meaning than the simple naughty boy/satanic devil portrait. This worship recognized in Dionysos the image of indestructible life itself, and a path to 'stand outside of oneself'as a way to experience life as unified whole.
Dionysos informs us about the nature of ecstasy, its cathartic effect on our psyche, and gives us a means to engage it. We are warned to avoid the extremes of denying Dionysos, or its opposite: identifying with the god. We are offered the "safe container" of Dionysian rituals, which allow us to engage the ecstatic without being destroyed by it.
But Dionysos also shows us that the pursuit of the ecstatic is more than a catharsis, a "blowing off of excess steam." Engagement with Dionysos takes us deeper into the infinity of the present moment and deeper into our connection with the mystery of life.
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In the mid 20^^th^^ century, a new music phenomenon was born in the Western world—rock and roll. Maligned by many as "the devil's music" due to its physiologically arousing rhythm and timbre, it rose to unprecedented popularity among the Western masses, particularly those under the age of thirty. In the eyes of their admirers, rock and roll performers shine with the blinding luminosity of the "gods." Their song lyrics are taken by many to be instructions on how to live life, and their music, especially when heard live at a rock concert, can elicit a psychological shifting of consciousness that is independent of space and time.
For the mythologist steeped in the tenets of depth psychology, rock and roll is viewed as a pop culture phenomenon. The rock performers act out various archetypal patterns and mythological themes that resonate in the psyche of people in modern Western culture. The god Dionysos reigns supreme over the rock and roll stage; his archetypal constellation of irrationality, excess, altered consciousness, dismemberment, and sexual ecstasy are readily observed in virtually all rock performers. But Dionysos is not the only god or the only archetypal pattern that inhabits the psyche of the rock and roll performer.
This dissertation is a study of the various archetypal patterns and themes that are observed in the rock and roll performer. These are the archetypal patterns associated with some of the Greek gods and heroes, including, first and foremost, Dionysos, but also Hermes, Orpheus, and even Apollo. It also examines other rock star archetypal constellations such as the Trickster, the Destroyer, the Orphan, and the Messiah. The evidence of these archetypal patterns is observed in four major ways: the performer's physical appearance and behavior, the lyrics and the tone of the music, and the media's portrayal of the rock star.
Drawing from the extensive texts on archetypal theory and the large body of mythological stories and themes, this text presents an informative portrait of the rock and roll phenomenon and its charismatic performers.
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This theoretical study examines a potent force in contemporary society—one which has created a compelling vision of the world and of humankind's place in it. That force is advertising, and in the course of one hundred years, it has come to wield immense social influence and has become a powerful arbitrator of reality. While at first advertising primarily influenced matters of taste, dress, and food preferences, it eventually began to influence more fundamental concepts: what it means to be human, how to attain happiness, what signifies value, how to define beauty, what our relationship is to the natural world, and how to develop a sense of identity and self-worth. The enormity of this influence is why many have plainly labelled advertising either a form of religion or myth.
Advertising has shaped our lives and brought to members of the middle class an affluence previously unknown. It has also caused a commodification of human relating and a misuse of natural resources. By utilizing historical data, philosophical theories, depth psychology, myths, legends, and literature, as well as widely-used advertising techniques and advertisements, this analysis focuses on answering four questions: (1) What are the historical and philosophical underpinnings of advertising? (2) How do advertisers create the brand mythologies that influence our value system and our buying behaviors, without our realizing that psychic manipulation is going on? (3) What effects does advertising have on us as individuals and as a world community? (4) Can products by re-mythified, that is, are there alternatives to the vision of reality promoted by advertising?
Answers to these questions provide an understanding of how advertising works on an archetypal level to influence people's behavior and the meaning of their lives. Also suggested is a new way of assessing products through the development of an aesthetic, sensory, and intellectual appreciation of how a product presents itself and speaks to our imaginations.
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This dissertation explores the myths of Iphigenia and Persephone, with an emphasis on how their developmental stage as adolescents influences their responses within the myths. Their threshold position between childhood and adulthood and their role as daughters largely determine the course of their actions. As daughters of mothers who survived a particularly painful childhood, both Iphigenia and Persephone become particularly adept at caring for their mothers rather than being mothered by them. They were care providers in their own families before they assumed that role in the larger society. Before Iphigenia's sacrifice she asks her mother to look after her brother Orestes and not to be angry with Agamemnon, the father about to execute her. Upon returning from the Underworld, Persephone does not discuss her own journey but inquires after her mother's well being. Both young women were worshipped as soteriological figures. Persephone and Demeter were worshipped at the Eleusinian Mysteries for several thousand years, while Iphigenia merged with the Goddess Artemis in some areas of Greece and was worshipped as a heroine and goddess. The concern of the middle section of this work is the parents and families of the two mythological adolescents and the universal characteristics of adolescence as a stage of development, which emphasizes the quality of the adolescents' potential as well as their idealism in the face of personal danger. The final section examines several contemporary works of fiction that contain facets of either one or both of these myths. The family structure in this fiction parallels, often to an astonishing degree, the pattern of dysfunction and pain rendered in the mythological stories. The insight gleaned here is that the dysfunction passes from generation to generation, much like the curse on the House of Atreus. The myths, therefore, along with their contemporary counterparts, offer us a dual vision into an archetypal realm.
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The Greek myths sing of a profound connection between the early Greeks and the land in which they dwelled. This dissertation explores the relationship between the human psyche, the natural environment, and the divine through the medium of "found" mythopoetry. It explores ancient Greek consciousness and Homeric poetry and contrasts and compares it to the rationalist modern view and an evolving postmodern, phenomenological, archetypal, and ecopsychological view of consciousness. It seeks to elucidate and amplify views of the psyche-nature relationship and to suggest that a mythopoetic understanding of this connection will enhance our cultural behavior toward the natural environment of the earth.
The "found" mythopoetry, which serves as the dissertation's creative production, is based on Greek myths. The "found" poems are an attempt to understand the relationships between physical places and the states of soul that are related to those places. The poems seek to elucidate landscape archetypes through the Greek myths that are centered in these types of places. The investigation was completed by looking at Greek myths that "took place" in various places such as rivers, cliffs, mountains, and caves. It uses the technological techniques of the present (the Internet, ~CDs, advanced computer search techniques, and hyperlinks) coupled with postmodern fragmentary poetry techniques. These poems are then reviewed from a phenomenological point of view to uncover and re-imagine an ensouled world. Further analysis looks at the Greek idea of consciousness and self and compares it to new conceptions of the nature of self. The dissertation explores through archetypal and ecopsychological methods how the psyche and the landscape co-participate to create a sense of meaning and beauty.
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Memoir has been described as a postmodern genre through which one explores facets of the self that challenge modernist notions of a complex yet singular reality. Through this reflective act of creative self-expression, one may encounter realities that not only question existing conceptions of identity, but also normative views of what constitutes a self. One may also explore the ways in which multiple realities of self co-exist and interpenetrate. Constructing a memoir may offer a profound mode of discovery in which one experiences the subjective self nonconceptually. Spontaneous recollection of personal history, emotion, sensation, image, and dream within the context of transient phenomena in the present environment, may offer insight into the very nature of mind itself and the reality it constructs.
Depth psychology has traditionally derived psychological insight by amplifying this stream of consciousness through the ancient narratives of Greek mythology. Other wisdom traditions such as The Great Perfection of Tibetan Vajrayana Buddhism, may also shed light on these experiences and awaken aspects of identity leading to profound transformation. These insights may extend not only to relatively mundane aspects of the human condition, but like Augustine, one may reflect on ultimate questions of identity. Augustine wrote that the memory "is like a great field or a spacious palace, a storehouse for countless images of all kinds which are conveyed to it by the senses," and that within these recollections is contained a memory of "a state of blessed happiness." Great Perfection thought may regard this state as a blissful experience of one's buddha-nature.
Memoir, in this form—as an initiation, a Vision Quest, a spontaneous de-stabilization of a prior way of knowing oneself, is mediated through what Archetypal Psychology calls a Dionysian consciousness. This poetic consciousness is also a "somatized awareness of self." The borderless regions of the psyche ruled by a Dionysian consciousness lay the ground for the deconstruction and reintegration of facets of identity revealed through the Historical Mind, the Archetypal Mind, and the Buddha Mind. Dissolving the conventional polarities that the ordinary mind constructs in order to maintain its sense of a coherent narrative of self, existing under its own power, enables one to open to the unconditioned, thus weakening the habitual tendencies of the conditioned self.
Following the theoretical discussion is a personal memoir from which the insights for this dissertation arose. The memoir is written in the form of a series of ritualized walks over a period of a number of years. The setting is the Santa Barbara Harbor and surrounding breakwater.
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Guinevere, or Gwenhwyfar, whose name from the Celtic tradition means //phantom//, //spirit//, or //faery//, is not surprisingly of otherworldly origins. In many myths, however, she loses her otherworldly status and is vilified; in some, she is helpless in ways that accentuate a knight's prowess at protecting her. In the Arthurian romances that are part of our Western tradition and influence such mythologists as Joseph Campbell, Guinevere, who is both exalted and marginalized, remains in the shadows. This work journeys into Guinevere's world, from early Eastern traditions and medieval times to today's Information Age, and gives her and those whom she influences a voice.
In this dissertation, I contend that in the Arthurian romances, Guinevere provides what is needed to see through the outer world to its inner essence, or to perceive the world through soul. She is the anima, the feminine soul who provides the main medium of communication with the deeper aspects of the unconscious and invites soul-making. Further, her development in the mythic cycle reflects C. G. Jung's individuation process and Joseph Campbell's hero journey, as she strives to achieve authenticity in a patriarchal world that limits her ability to express and reveal herself. This work exposes her struggles, honors her otherworldly origins, and imagines her in an androgynous world that allows her to be her own person, marry for love, care for the earth, and tend to soul; not one into which she tries to fit, but one that she helps shape.
Myths create us as we create them. They erupt from and inform our imagination; their symbols, images, and personifications provide role models and road maps that influence the choices we make that become our lives. In such myths as the Arthurian romances, people identify universal themes and see through them to truths. In the tradition of James Hillman who espouses the idea that myth helps people see into and beyond themselves, this work delves into themes that are part of the human experience. Guinevere, who is part of patriarchal myths that reflect and influence cultures, has been in exile. This work imagines her myth forward.
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The grotesque image intermingles aspects of images often kept apart in separate categories. For example, grotesque images include representations of hermaphrodites that interweave biological male and female, and science fiction cyborgs that blend human flesh with machine. These images exist in classical mythology (i.e. Ovid's Metamorphoses ), in the medieval era in Dante's Inferno , in modern literature in Franz Kafka's "The Metamorphosis," and in contemporary film in Fight Club and The Terminator . The iconoclastic grotesque image is defined by its ambiguity and undermines polarized constructs of so-called reality: male/female, animal/human, good/evil, human/machine.
This dissertation applies four interdisciplinary theoretical perspectives to analyze grotesque images in modern and contemporary literature and film. Russian literary theorist Mikhail Bakhtin describes the grotesque as an image of the unfinished and imperfect being. James Hillman's work on the pathologized image suggests that the grotesque image demonstrates psyche's autonomous ability to instill suffering and limitation. Furthermore, one's perspective on life is distinctively different when seen through the lens of the grotesque image as opposed to the heroic image.
The grotesque image is further explored through Sigmund Freud's essay on the unheimlich (uncanny). He associates uncanny feelings with repressed aspects of psyche and the death instinct. The grotesque image is also associated with the abject, a pre-subject/pre-object phase of infantile psychological development described by French psychoanalyst Julia Kristeva. These psychoanalytic perspectives link the grotesque image to the disordered and fragmented unconscious.
These four theoretical perspectives are used to interpret grotesque imagery in Kafka's "The Metamorphosis," Fight Club , and the three Terminator films. Kafka's character—Gregor Samsa, a man turned vermin, is emblematic of the heroic ego radically introduced to suffering, limitation, and death. In Fight Club , the heroic life of the narrator is splintered through repeated encounters with numerous grotesque characters embodying the doppelganger, ambiguous gender, sexuality, and mortality. The Terminator films introduce multiple variations on the grotesque figure of the cyborg, obscuring distinct categories of time, gender, life/death, and human/machine. The heroic ego's tenuous monocentric hold on psyche is shown time and again to be undermined by the polycentric essence of grotesque images.
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This dissertation re-imagines the Greek deity Hekate through the framework of memoir writing. Situated at the threshold, crossroads, and her cave, Hekate's triune form presides over the liminal, holding the tension between past, present, and future, visually suggesting the polycentric perspective needed when entering the underworld. So, too, the memoir writer, a "contemporary mythmaker" (Murdock 24), approaches the underworld as participant and witness, seeking truth through variant perspectives. Although it is traditionally Mnemosyne and her daughters, the Muses, who are invoked for inspiration, this work proposes Hekate as muse of darkness, mediator between a writer and terror, between words and the abyss of silence. As Hekate disassembles and assembles, so, too, the memoir writer must take apart a piece of a life, exposing raw, and sometimes ragged edges before tending and reassembling them.
As "Queen of the Ghosts" Hekate is followed by a retinue of phantoms, the untimely dead. Family secrets, lies, experiences of trauma or unacknowledged passions are the untold stories, hauntings, or gaps often holding sway over a psychological history. Into such gaps and places of "between" the memoir writer excavates, discovering imprisoned stories, making meaning of events, thus transmuting and transforming personal and mythological lineage.
In her role as guide in the underworld Hekate carries torches illuminating cavernous sites of not knowing, undoing, incubation, and darkness. The memoir writer, too, travels lost regions and borderlines of the inner landscape, seeking insight, intuition, image, and language.
The approach of this dissertation is heuristic. By incorporating my writing into the weave of the text, I sought to experience Hekate's powerful, uncanny presence at a crossroads time. Writing into my personal "gap" I attempted to engage and re-imagine the past, to give voice to untold stories and illuminate the interior landscape.
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I find in the Hephaistos myth both a story of individual struggle, that can be read as an individuation process, and a symbol—the Shield of Achilles—that can be understood as a stunning image of constructed wholeness. The story of Hephaistos, as rejected son of a narcissistic mother and absent father; as creative artist who learns his craft under the guidance of Thetis and Eurynome (she who brought all things into being); and as one who struggles with formidable obstacles to make a place for himself in Olympus, gives us a mythic model of an important aspect of the human condition: that of individuation.
Individuation is an achievement of wholeness, a crafting or forging of Self through a process of increasing consciousness, and a successful resolution of primal life traumas. Hephaistos the divine craftsman, Hephaistos the working god, speaks to the challenges of crafting and forging one's own consciousness in the process of individuation.
Wholeness, in psychological terms, is often symbolized by the image of a circle, or mandala, in which the entire cosmos is depicted or symbolized in greater or lesser detail. Hephaistos is well-known for creating what is, in effect, such a mandala. The Shield of Achilles, forged by Hephaistos, is an astonishing creative accomplishment, which, in its symbolic and literal imagery, stands for a unified, integrated world view, and for individuation as depicted in the Hephaistos myth.
The imagery engraved on the shield—common, everyday, even banal life—is so powerful, so awe-full, that Achilles' own allies, the Myrmidons, tremble in fear and none have the courage to look upon it. The Shield of Achilles is the perfect image of wholeness, the very thing most lacking in the heroic consciousness of the Iliad . The primordial images brought out by Hephaistos stand for an individuated psyche. For the Myrmidons, it served to reveal what was unconscious to them but most needed in their culture or age. That kind of primordial imagery can be terrifying indeed to a mind that is not ready to accept the message.
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The popular television series, Buffy the Vampire Slayer , has transformed the conventional hero myth from a depiction of a brawny, dominating loner to a more complex portrayal of a discerning and developing champion of the people. Despite being an often targeted scapegoat for social and interpersonal ills, television is a storytelling medium that plays a major role in influencing human consciousness by conveying mythic patterns. The popularity of certain mythic images and stories imparted by television signifies collective tendencies and needs. Female superhero images in media provide a heroic portrayal of women and herald the recognition of expressions and contributions of femininity.
Many traditional myths disappoint in their lack of relevance to contemporary culture, particularly in their portrayal of women. History has indirectly criticized accomplished women by leaving their stories untold. Social learning deficits regarding the interaction with and the development of powerful femininity have occurred due to disconnection from the lineage of women in history and myth. Potent feminine qualities have developed in isolation due to this insufficiency in stories.
Jungian dream, film, and fairytale interpretation techniques are used in this inquiry to analyze Buffy the Vampire Slayer as a dream of the collective. Mythological studies assist in discovering the role this television series plays as a modern myth that portrays the development of and relationships to powerful femininity. In the sense that "stories are medicine" (Estes, 1992), this study reveals what instructions--what medicines--are found in Buffy the Vampire Slayer .
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This study explores the Greek deities Hestia, Hekate, and Hermes, examines interconnections among them, and considers how their varied archetypal qualities manifest in the life and times of a woman approaching her mid-seventies.
Hestia, goddess of hearth and home, is stable, orderly, and self-possessed, with a propensity for silence and solitude. She represents the dependable homemaker who attends to family history, values, and rituals, and serves as manager of household activities and provisions. Hestia's essence is the hearth-fire, symbolized by the circle with its attributes of harmony, integration, and wholeness.
Elusive and enigmatic, Hekate was, in archaic times, a powerful and humane goddess known for her generous and nurturing nature, but who later became feared and reviled due to her association with the restless dead who inhabit the chaotic liminalitv of the three-way crossroads. Known as the crone aspect of the triple goddess, Hekate has links to magic, madness, and witchcraft.
Hermes is quick-witted, clever, and inventive; he is a communicator who charms, tricks, and seduces. He is a mover and a shaker, a thief and a liar, a journeyer and messenger of the gods. As a deity of the night he has ties to dreams and the underworld, and as god of lucky coincidences he is the connection that allows for synchronicities. In their relationships, Hermes stands in contrast to Hestia: she is inward, principled, and stationary; he is gregarious, deceitful, and mobile. With Hekate he shares similarities: both are magicians, are associated with darkness, are guides of souls, and are involved in transitions. Hestia and Hekate, though disparate in their functions, have strong ties to women and the home; Hestia is the reliable housekeeper, and Hekate is the guardian who sees family members through life's passages from birth to death.
Hestia symbolizes the constancy of domestic life; Hekate represents the complexity that exists within the dynamic conditions of transition; and Hermes exemplifies a youthful vitality that enhances change. Each embodies archetypal patterns that can inform and inspire the inward journey, especially in facing the particular challenges of our time and culture.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=764703621&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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My inquiry into the ancient Greek goddess of the hearth began with an attempt to establish the historical record through an engagement with the archaic literary sources. I next examined the practices that developed in connection with her ritual worship, particularly in Rome where Hestia was known as Vesta and where the Vestal Virgins were considered to be living copies of the goddess. The work then turned to depth psychology for insight into what I had culled from the historical record.
My depth psychological interpretation of Hestia emphasizes three areas: narrative, affect, and image. In her narrative, the myths tell how she is swallowed by Kronos, disgorged, asks to remain unmarried, and retires to Olympus to live alone. At the level of affect or feeling, the states associated with the Hestian pattern are multivalent. At its most positive, Hestian feeling involves the impulse to safety, ritual, and the desire for inwardness and solitude. More negative expressions include fretfulness, fear, and dread of change. Hestian images include the circle, the flame, the alchemical vessel, and the solitary ascetic.
In ancient times, the hearth centered the home and family—a horizontal centering on the surface of the earth. The fire burning on the hearth symbolized a vertical energy which transmuted raw food into an edible meal, perhaps also transforming raw emotions into civilized ones, and mediating between the worlds when sacrifices burnt on the altar were carried to the realm of the gods. Thus, symbolically, the hearth was the fixed center around which all else was organized. Hearth, home, city, world—
all formed concentric circles.
From the point of view of depth psychology, this pattern is mirrored in the individual psyche which also looks outward from a concentric midpoint. Whenever the mythology of Hestia appears, the recurring themes of protection, security, inwardness, and sanctification are discernible. This dissertation is thus a depth psychological exploration of that divinity who personifies the instincts in the psyche that have to do with protecting all that which is experienced as inner: Hestia, the goddess of the hearth
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=765916131&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
/***
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|Version:|3.1 ($Rev: 3919 $)|
|Date:|$Date: 2008-03-13 02:03:12 +1000 (Thu, 13 Mar 2008) $|
|Source:|http://mptw.tiddlyspot.com/#HideWhenPlugin|
|Author:|Simon Baird <simon.baird@gmail.com>|
|License:|http://mptw.tiddlyspot.com/#TheBSDLicense|
For use in ViewTemplate and EditTemplate. Example usage:
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<<<
In his //Theogony//, the ancient Greek poet Hesiod describes the earliest gods as Gaping Chasm (Chaos), Earth, and Eros, a primordial triad that represents the elemental powers of nature. The mountain journey experientially and metaphorically accesses these forces, which are self-generative, precede duality, and are fundamental to the development of all life. The mountain, as Earth, becomes a physical and imaginal threshold to the untamable yet life-giving forces of Eros and Chaos. Fierce with wild beauty, life, and death, the mountain place-world turns us back on ourselves and embeds us physically, psychically, and imaginally in the broader place-world called Earth.
This dissertation explores mountain terrain as a particular and archetypal place-world, where the inherent form and characteristics of mountains engender a dialectical relationship between mountains and those who engage their vertical ground. I explore this relationship through the memoirs of twentieth- and twenty-first-century Western mountain climbers as well as through my own memoir of mountain journeys. The notion put forth by Carl Jung, and later by James Hillman, that image is fundamental to psyche provides a theoretical basis for this exploration. The narratives discussed in the work as well as the narrative of this dissertation are funded by the physical reality and sensory experience of mountains but mediated by the imaging activity of the psyche and, as Hillman writes, "its poetic basis of mind."
The mountain's form and character enlivens and nourishes the contemporary Western psyche through experiences of implacement and orientation, of verticality, and of wildness. And although the compelling nature of mountains defies definition, it reveals itself most fully when approached through a mythic imagination.
<<<
<<link 1793571611>>
<<<
This dissertation, an illustrated memoir, unravels a recent crisis in my family surrounding the interwoven issues of caring for our aging mother and settling the family inheritance—and their connection to French gender-based birthright laws and sibling rivalry. In search of meaningful connections to personal past and history, I examine the imaginal roots of our conflict in the lives of our French ancestors, and explore eight generations over two centuries of family history. Looking through the lens of the rich traditions of Western mythology— specifically the Greek, Biblical and Celtic traditions—I deliteralize my family history and link it to the Tree of Life.
The apparently universal human need to translate experience into stories confirms the mythic nature of our perception of reality, yet too often in the field of psychology the power of story is overlooked. This study offers a rich example of "storying" as a healing and revelatory process that brings transformation and insight. My family crisis served to breach the veil that separates us from our own mythos—a mythos that, according to Aristotle, is revealed by a story's plot. Through my newly gained consciousness, I, like Sleeping Beauty, begin to awaken from the spell of my family myth and to free myself from my identification with a multiplicity of illusory selves and particularly from my identity within my family's mythic structure.
My cross-disciplinary research exemplifies the use of nonliteral expressions such as story, myth, dream, and art to explore the inner reality of our lives. Taking to heart Jung's statement that "image is psyche," I make use of videotaping and visual materials—especially my own process artwork—
as an integral part of the writing process. A theoretical analysis elaborated out of the creative project describes its hermeneutical method and stresses the reflective mode of investigation as a function of the experiential one.
//How I Returned to My Mother's House// is a work of atonement, a search for my feminine voice, and a transformative process whose insights have led me to deep reflections on the mythic nature of self, and on "self" as a myth.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=764708901&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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>>
<<<
Attention deficit, with or without hyperactivity (AD/HD), is a collection of symptoms that researchers like Thom Hartmann and Peter S. Jensen, et al. are suggesting may be ancient hunter-gatherer qualities misplaced and misunderstood by a farmer's world. This study challenges that notion with theoretical research. If the hunter is defined by anthropological research as a way of being in the world and juxtaposed to the symptoms of AD/HD, the symptoms prove to be misinterpreted hunter traits rather than something innate to the human gene pool. But when pursued by an archetypal perspective, essential qualities and values emerge that can consistently be labeled as "hunterness" or "farmerness." From this context, the hunter is a rich and salient metaphor that points to an essence of being that is essential to the farmer's world, but has been systematically abandoned in the culture of modern technology. When the labels are revised and overlaid onto the confluence of research in the areas of mythology, psychology, and kinesiology and applied to education, brain research, and psychological health, the symptoms of AD/HD reveal a systemic disconnect, an interior and exterior imbalance between hunter and farmer qualities.
Farmerness is a worldview that has been grafted onto the world of hunterness. It is also part of the evolutionary story of humankind, replicated by the developmental process in each human birth. If any step along the way is misperceived or misdirected the system called human is compromised. If exclusions in the process are not corrected and the way reverently re-membered, AD/HD is an inevitable consequence, a harbinger of misperceived reality. The story revealed by the symptoms of AD/HD is one of an emerging mythology, which tells of wholeness and integration. To listen, one needs a template of sufficient depth and breadth to hear its message and hold its complexity. Educational Kinesiology, an international drug-free movement-based discipline of mindbody integration, and its Brain Gym movements are presented as both a tool of understanding and a way to rejoining the farmer to the abandoned hunter thereby reducing and reordering the AD/HD symptoms of separation.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=828420081&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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In the West, identity is understood to be intrapsychic and interpersonal. May it also be environmental? This study probes the notion that landscape may exert an influence on one's sense of self. In this study, a correlation between identity and landscape is investigated by weaving sources from depth psychology, philosophy, phenomenology, anthropology, ecopsychology, geography, and history with excerpts from literature, myth, fairy tale, and personal testaments.
Landscape may be literal and concrete. Landscape may also be a metaphor or likeness perceived by psyche and integrated into a meaningful relation. In certain narratives a lost identity may be retrieved through a landscape, such as in Leslie Marmon Silko's Ceremony , or identity may be established in the context of a landscape, such as in the Brothers' Grimm Little Red Cap and Wolfram von Eschenbach's Parzival . Landscape may be experienced as a distanced perspective or as an implaced phenomenological encounter with "other." Profound experiences of landscape, chronicled by people such as Kidner, Thoreau, and Carson, are also woven into the notion that landscape may wield an influence on one's sense of self.
A survey of various sources from the Freudian, Jungian, and archetypal schools within depth psychology set up a panoramic view of psyche expressing itself as identity. In this study, landscape is presented as being comprised of three primary components: matter, nature, and place/space. This dissertation further hones the notion of the correlation between identity and landscape, both literally and imaginally, through juxtaposing interdisciplinary sources which link psyche with matter, psyche with nature, and psyche with place/space.
In the imaginal realm, where emphasis is placed on imaginal expressions such as dream, vision, and fantasy rather than force of will, empirical fact, or rational thinking, one's sense of self and a connection with a landscape of resonance are explored. By means of an implaced imaginal view, selected poetic terms are probed to disclose what a correlation between identity and landscape might look like.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=1436381451&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<library 31408>>
<<<
Storying by the dying is a recurring theme from the earliest cultural mythologies and literature known in the world. King Gilgamesh suffers the loss of his best friend Enkidu in the ancient Sumerian story inscribed in clay sometime between 2750 and 2500 BCE (Tablet VI). The Old Testament Book of Deuteronomy is traditionally understood to be stories told by Moses after God has informed him that he will die without ever setting foot in the Promised Land (Num. 27.13). Closer to our own era, //The Death of Ivan Ilyich// by Leo Tolstoy is one of literature’s great examples of a man storying towards his death. Being present to these storying moments brings to mind what the Ancient Greeks might have called the //realm of the Muses//, a sacred vessel in which the human psyche of the dying can find healing through expression. The storied experience which emerges is unique to this time of life. Yet little research focuses on the physiology that undergirds and informs the act of narration at the end of the life trajectory.
Through an interdisciplinary approach, this project weaves together end-of-life stories recorded in the earliest written records of humankind with a modern understanding of neuroscience and neurophysiology. A scan of four thousand years of extant literature reveals that the emotional experiences of dying individuals have always been, and continue to be, the poetic expression of the human body itself.
Millions of people over thousands of years have traveled the end of the life path before us and their collective voices contain an abundance of wisdom. This dissertation gathers and explores this collective ancestral wisdom as it illuminates and informs the mythic landscape of the twilight time of life.
<<<
<<<
This dissertation investigates and utilizes two notions of myth: personal and cultural. I propose an approach to therapeutically writing and reflecting on memoir, utilizing two post-Jungian theories as well as a phenomenological orientation that honors the unconscious and conscious domains of psyche. First, the discovery of one's personal myth, which in part has built up around a traumatic event in order to protect a fragile Ego, relies on writing memoir using the principles of James Hillman's imaginal perspective. Then, by reflecting on the exposed myth utilizing Wolfgang Giegerich's psychological approach, I argue that a new level of awareness and acceptance of past events can be achieved by the memoirist. Potentially, this new understanding provides psychological relief beyond that which can be achieved through memoir writing alone. Although Hillman's Archetypal Psychology is beneficial in working with personal memory, I argue that a shift away from the imaginal must eventually occur. Otherwise, the personal myth identified in the memoir may continue to unconsciously fuel debilitating behaviors that have been invisibly steering one's life. Stopping at naming the myth, recognizing the archetypal pattern, or continuing to imaginally reorganize the contents of memoir may only provide a new means to maintain old beliefs rather than allowing breakthrough into a new understanding of the previously lived experience. A radical shift in psychological perspective is required. In contrast, Giegerich's psychological theory recognizes an innate intelligence capable of valid reasoning, or "thinking" when relieved of egoic and preconceived ideas. Reflectively "thinking" through a deconstruction of one's personal myth can assist in transcending a delusional belief system previously unrecognized and facilitates a move toward a new level of acceptance of the reality of past events. This dissertation also develops an inclusive theory of the structure and dynamics of the psyche as it exposes a fundamental division in Jungian psychology. It accomplishes this goal through a comparative approach that searches out patterns and discrepancies in myth and theory. Its final aim is to achieve a further understanding of the healing aspect of memoir as it relates to a traumatic experience that may unconsciously drives one's life.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=1328075071&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<<
Christians attend church to honor a male savior who was sent by a male God. The Christian Father and Son are predominately represented by male apostles, popes, monsignors, ministers, priests, deacons, and elders, all of whom interpret God's Word. God's commandments were set in stone and recorded in the Bible written by men. Women were defined as evil and cunning and have shriveled at each edict and male projection. Women have remained silent, subservient, passive, thin, and victims of addiction and depression.
This hermeneutical dissertation utilizes psychological and feminist lenses to examine Paleolithic and Neolithic Goddess traditions in Old Europe, Anatolia, and India. Old Europe rendered the Great Mother as earth, moon, water, regeneration, birth, and death. In Anatolia, the divine mother's black obsidian flowed from her volcanic breasts to give wealth to her people. Her liquid arms brought water for agriculture, and therefore life. Today archeologists dig and scrape into her belly mound to expose birth rooms, burial chambers, and the secrets of an earlier life that honored the feminine. Ancient and contemporary goddesses of India embody aspects of the divine feminine and are role models, protectors, providers, and a source of inspiration.
This study is also a personal journey grounded in heuristic inquiry. Special attention is given to the archetype of the mother, the anima and animus, the Self, and the hero, as a means of recovering the divine feminine. The awareness achieved via research, writing, and travel disclosed the need for a mythic perceptiveness and sound psychological techniques that would enable contemporary women to integrate the good mother.
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([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=725983451&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
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<<pl 892069836>>
<<<
Individuals engaging their psyches through depth exploration act heroically. This process of individuation is arduous and provokes unceasing variations of issues for resolution. Success is not quick, easy, or assured, but this personal dedication to a fully manifested life often leads to a higher level of consciousness and a sense of meaning.
Myths worldwide narrate imaginal stories of cultural heroes who discover their deepest truths. It takes a hero's courage to make decisions, even everyday ones, and none is more profound than that of embracing experiential, psychic exploration. Heroic inner workers nurture manifesting spirits through psychological rebirths.
From personal experience, few deep healing modalities upwell mythic imagery for their psychic insights and personal truths as successfully as Holotropic Breathwork. The most profound trauma revealed is often that from birth itself, which is too often compounded by societal unconsciousness.
The survival of endangered life forms on our beautiful, blue water planet rests on this modern hero's journey of personal exploration. Deep psychic wounds must be healed. If we are to prohibit the use of weapons of mass destruction, we must act consciously individually and collectively. Unconsciousness is historically manipulated for personal political power by "Dark Numinosity" archetypes [malefic abusers of sacral-psychic knowledge] that infect the social body with psychic epidemics that lead to wholesale death and destruction. Thwarting this predatory impetus to slaughter may very well depend upon individuals who embrace inner work, and with gained consciousness inform their fellow humans of psychologically healthier courses of action.
Engaging inner work is the modern hero's journey, and it manifests a life blessed with meaning. This is our time; planetary survival is our imperative.
<<<
<<pl 893054030>>
<<<
The World War II generation instilled a sense of duty and personal responsibility in Baby Boomer children in an era in which America viewed itself as a homogeneous community with similar values. The environment in which youth grow up today has undergone dramatic change, an example being a reduction in complex thinking in college classrooms by students presuming the right to be entertained, the result of decades of mass media and culture empty of content and purpose, according to Eric Larsen in //A Nation Gone Blind//. Multitasking has led to decreased opportunities to engage in discussions of complex issues that require face-to-face contact, resulting in moral lapses such as academic cheating becoming normative for a generation Robert Coles terms "morally illiterate." The public school is positioned to provide the largest percentage of school-age children with opportunities to reflect critically on complex moral issues related to academic disciplines. The need is especially acute in the higher grades where the current emphasis is almost entirely focused on teaching subject matter knowledge, not competency in complex moral decision-making. This dissertation argues that the poetic imagination transforms imaginal worlds in classic literature to a "felt sense" of life that reduces barriers between reader and text and creates a bond of compassion. In the imaginal realm, readers are able to suspend belief and form a heart connection with the complexities and uncertainties of the human condition. In imagining alternative possibilities for action, adolescent identity formation is stimulated through a process by which adolescents construct and re-vision images of an ideal moral self that transcends human experience across time. Incorporating structured techniques such as Socratic dialogue, active listening, and psychodrama deepens the experience of being a respectful, compassionate human being conscious of diverse perspectives. The dissertation supports the approach of teaching complex moral decision-making in America's public schools with extensive theoretical evidence within moral philosophy; moral education; literary theory; archetypal psychology; and the moral psychologies of cognitive science, cognitive linguistics, affective neuroscience, and evolutionary biology. In addition, numerous exemplars are presented of awakening the moral imagination within the context of comic, tragic, and epic mythopoesis.
<<<
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// %/
<<<
Popularly equated with insanity, speed, confusion, and destruction, mania is also associated with genius, creativity, and extraordinary perception. The intent of this dissertation is to re-mythologize a condition that is complex, varied, and stigmatized.
Experience with mania and the resulting stigma motivated this inquiry into the place of such marking in culture and its effect on those who experience and perceive it. Stigmatized individuals are set apart from social institutions, considered anomalies and contaminating to social institutions.
An anthropological perspective compares different cultural approaches to similar behavior. Western empiricism is contrasted with the more spiritual outlook of indigenous societies such as that of Haiti and those of varied Native tribes in North and South America, Africa, and Asia. The value of ritual as a means for sanctifying involuntary experiences is discussed.
Mania, an involuntary altered state, can be compared with accidental possession as is found in the Vodou religion and with shamanic crisis preceding the more sophisticated and versatile shamanic practice of many indigenous spiritual leaders. Anyone who experiences an unexpected altered state, besides the shock to the personality of such a sudden occurrence, is likely to experience stigma in his or her culture. Involuntary possessions are often discouraged among Haitians, and those called to shamanic practice may find themselves initially isolated from others.
An altered state, albeit a rudimentary one, mania is fragmentary, as are most early emotional and spiritual stages of growth. While involuntary, uncontrolled, rapidly growing, and sometimes frightening, it contains seeds of spiritual and emotional growth that may lead to superior maturity for both the individual and society. Ritual can lead to healing and is a significant means of containing and sanctifying unvarnished needs and desires revealed during involuntary episodes.
One who experiences a manic episode is flamboyant, hyperactive, acutely sensitive, creative, grandiose, extravagant, obsessive, exuberant, imaginative, and excited: a microcosm of Western culture. Mania may be stigmatized or refined for contributions to the community. Could ritualized cultures have a better approach to comprehending manic conditions?
<<<
<<link 1617255431>>
<<<
Human beings live a storied existence. We discover, define, and describe who we are by the stories we tell about ourselves. There is a psychological necessity to know our personal story. This archetypal quest to discover our soul's calling, make conscious our personal mythology, and view our place in the larger cultural story as living a life that matters is the focus of this study.
This work argues that we may discover our personal mythology by imaginatively remembering our past, present, and future. This process of remembering may be accomplished through imaginal writing exercises that help us explore our personal story from a variety of perspectives. These techniques are presented in a nonfiction book that comprises part 2 of this dissertation. This book, directed toward the self-help reader, offers stories and personal examples that illustrate depth psychological concepts that provide the framework for understanding and honoring the archetypal need to tell our story.
"Invoking the Muse" is the metaphor used in this book for the imaginative processes involved in transforming personal memories, challenges, regrets, and desires into a meaningful, healing story. This metaphor is based upon the archetypal energies personified as the mythological figure Clio, Muse of history, and her mother, goddess Memory. This book offers various techniques to invoke the Muse as a way to creatively remember, including active imagination, writing our stories from other characters' points of view, creating story-pictures using collage or other art forms, and writing our stories as fiction. From these and other exercises in the book, we may produce a body of work that comprises a richly textured personal story from which we can imaginatively discern archetypal patterns and mythic themes.
The theoretical background to this book, part 1 of this dissertation, presents a hermeneutical interpretation of the human quest for meaning through personal story and explores the mythological and depth psychological concepts that are the foundation of the book. It analyzes the book using a hermeneutics of narrative understanding which offers a fresh view of personal mythology as accessed through specific imaginal exercises and writing techniques.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=764920011&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<<
This dissertation examines the classical literary and visual arts records of Greece's rainbow-goddess, Iris. Although extant literature presents Iris primarily as the messenger of the Olympian deities, research into her pre-Olympian existence, along with her portrayals in visual arts, suggest Iris's presence in roles no longer found in literary sources. Her visual portrayals reveal the complexity of her roles, particularly her long association with the threshold between life and death. I present evidence for Iris as a goddess of rain and rainbow, stormy winds, and two eponymous rivers. Classical references suggest at least one Pre-Classical cult site for Iris with the goddess Hecate. In addition, artifacts found at Eleusis suggest the inclusion of both Iris and Hecate in the mysteries practiced there.
Greeks and Romans honored Iris as messenger, psychopomp, healer, and light- bearer. Her name was used for the rainbow and for the "iris" of the eye; she was also associated with the world's colors and the phenomenon of iridescence. Additionally, evidence suggests that even Pre-Greek cultures acknowledged Iris's presence in the many- colored flowers of the iris plant and in the medicinal and funerary uses of the iris root. Mythically, the most significant evidence is found in Iris's deep involvement in the preservation and restoration of cosmic and earthly order through her dyadic role with river- goddess Styx. Acting together, she and Styx secure the sanctity of truthful speech and oaths. Further, as messenger and servant of Zeus and Hera (or Jupiter and Juno), Iris participates in the restoration of order through announcing and enforcing the will of the gods.
Finally, I examine how Iris appears in the work of the natural philosophers as they investigate the rainbow as natural phenomenon and wonder. Its mythic relationships led to Plato's understanding and explanation for how light and color lead us from real-world image, through the eye's iris, into the internal world of mind. Then, through reflective consideration, we move to perception, and into the soul.
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This dissertation is concerned with the fate of the dark aspects of the divine feminine, as represented by the goddess Isis, after Christianity obtained its monopoly on European religion. Despite ecclesiastical attempts at extirpation, the goddesses of the pagan religions did not vanish from European culture. Those aspects of the pagan goddesses that were not subsumed into the figure of the Virgin Mary were discarded, but survived to reappear from time to time in art.
Post-Reformation England was such a time. The convergence of the Renaissance enthusiasm for classical culture, the occult Neoplatonist interest in ancient Egyptian religion and magic, the void left by the Protestant rejection of the cult of the Virgin Mary, and the flourishing of Elizabethan theater, with the group of brilliant playwrights who wrote for it, favored the reappearance of the divine feminine in the secular context of the theater.
Of the many possible pairings of goddesses and plays, Isis and //All's Well That Ends Well// by William Shakespeare is the structure through which I explore the combination of conscious and unconscious influences that inspired the creation of the heroine Helena, an ambiguous character who reflects the divine feminine in its manifestation as Isis. Shakespeare knew the works of Apuleius, Ovid, and Plutarch, and infused a fairy tale plot borrowed from Boccaccio with a richness of mythological and psychological content. //All's Well// is a notoriously unpopular and problematic play; I argue that the problems lie mainly in interpretations that focus exclusively on the superficial and ignore the mythic dimension.
Marie-Louise von Franz has observed that although it is impossible to comprehend rationally an archetype such as Isis, it is possible to circunambulate it by looking at it from different points. This dissertation follows aspects of Isis from her beginnings in ancient Egypt through the Renaissance, and culminates in an interpretation of All's Well that shows the ritual substructure of the play in which the main character, Helena, combines human characteristics with elements of Isis, and acts as initiate, priestess, and goddess in an initiatory sequence that recalls //The Golden Ass// .
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This archetypal study examines the mythical elements of the life of King David. It draws on material from the Talmud, Midrash, Kabbala, and depth psychology. David is viewed as a complex figure who at an early age felt great connection to God and as a result was destined to become the future king and "sweet singer of Israel." Throughout David's life, his complex nature was imbued with both suffering and great depth. The pattern of David's behavior is traced through the biblical story and the growth of his soul is observed through his relationship to four important women in his life.
David is seen through the lens of the Hermetic archetype, which is not only suffused with trickster qualities but also embodies opposites and the ability to communicate wisdom between the upper and lower worlds. David is viewed as a "Double" figure, embodying the conflicts of the twin archetype. As a result of encountering the opposites consciously, removing anima projections and integrating his shadow, he journeys toward individuation.
The question is addressed: what qualities did David possess that enabled him to carry the projection as the ancestor of the future messianic figure? The study suggests that the fatherly David's suffering, and his willingness honestly to confront and change his behavior, made him beloved in the eyes of his people and God. He is portrayed as an open-hearted, extremely human figure who struggled with opposites most of his life and grew in the process to embody the Self. It is suggested that this model of struggle and growth is a healthier model of spirituality than a model that seeks perfection within.
David's talent as poet and musician, combined with his role as king, allowed him to have a special impact on his people and future generations. The thirty-two Davidic psalms that are analyzed reveal a figure of great faith and spiritual sensitivity, one who confronts his suffering and intimately relates to God. These psalms forthrightly express the process he lived through, and portray a model of one who has experienced the rhythms of the cosmos through his open heart.
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The lack of logic and confusion about praxis have long been the basis for criticism of narrative and psychoanalytic theory building. At the same time, logic remains a cognitive ability left largely unexplained and uniquely human. This dissertation presents a working hypothesis about the origins of logical reasoning in human cognition, based on experimental research done by others investigating Joint Attentional Learning (JAL). Imaginal animate form (IAF) is hypothesized as the appropriate praxis for future narrative, psychoanalytic, and mythological theory building. Those able to imagine IAFs in relation to one another are then proven to be capable of deriving symbolic logic's Boolean algebra from form alone. The demonstration proof shows the derivation of logical connectives from animate form, linking the praxis proposed for narrative and psychoanalysis to logic. Logical reasoning is thereby shown to be related to JAL, eliminating the need for a Platonic explanation for logic. The IAF praxis connecting psychoanalysis, narrative, and logic moves theory on the human psyche beyond a nominal definition, proves a first property, and opens the path to a set of absolute definitions.
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Nature's elemental rhymes and rhythms condition us physically and inform us psychologically. In Nature we find out own natural rhythms, yet Western-style progress and its culture of convenience distance humanity from Nature, both distorting and corrupting a relationship with Her. This distancing itself stresses, a subtle yet real encumbering that manifests in physiological and psychological suffering. Modern medicine offers certain measures to resolve these disorders, yet the practice I suggest, logosynthesis, affords a nonpharmaceutical opportunity to resolve this distance and restore natural rhythms. It relies upon the existence of intrinsic moral properties.
Logosynthesis conflates two ideas: firstly, standing before Nature as Logos—a Word, thought, or reckoning that expresses a conscious and essential order—and, secondly, putting together or synthesizing an ethical response to Her Word. A study of sacred wisdom literature, psychological treatises, and essays from many traditions supports an understanding of and appreciation for Nature. Absorbing these reflections prepares one to heed the operative Intentions of each element—earth air, fire, water, and space—and to fathom their principled and magnificent harmonies. Jewish tradition records that, in the beginning, God "'Let' ....And it was so" (NIV Gen. 1.3, 6-7, 9, 11). This letting quickens, arrays, and favors the polyverse.
Nature articulates this letting forth, or promising, as She versifies. A verse , etymologically, signals the turn to begin a new line (Skeat). "Poly" is more than one. Thus, many turns, many liminal spaces between lines bring for the potential of Promise. One discovers the elements to be profoundly artful and therapeutic principles. One learns to honor and to appropriate their dynamic styles.
Logosynthesis gradually re-natures an ethic, sensitizing one to the repercussions of one's actions or to those of one's culture. Do they complement or disrupt Nature? Contemplative regard of Nature's five elements encourages a move from dissonance to consonance. Logosynthesis steps toward remembering a relationship with Nature through the elements and enjoying the fruits of a life thoroughly communed.
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This dissertation recovers the ancient figures of Anna and Joachim, who meet and embrace at the Golden Gate of Jerusalem. Vigorously ignored by guardians of Western and Christian history, the embracing couple offers a vision of loving partners in which transcendent power irrupts through human intimacy. Metaphorical as much as they were physical, Anna and Joachim are not just personifications of spiritual wisdom or representations of religious ideation, mere spokespersons for a theological message. This they are, and much more. Erotically speaking, they represent a fertile moment in human history, foremost in the birth of Mary, who gives birth to God incarnate, altering the course-of Christian life. Now, millennia later, as a poetic trope, their union is a template of healthy relatedness, helping individuals reach their potential for fulfillment and joy—an ancient prefiguring vision of heaven that makes modern, healthy loving comprehensible, step by laborious step.
The approach of this dissertation is not only archetypal, but also involves biblical and historical matters psychologically, making the hermeneutic of imaginal theology indispensable for analyzing the couple's embrace. Inherited from the deep Christian tradition—most especially from Augustine's philosophy, which strongly influenced Jung's depth psychology—and expanded significantly by David Miller, imaginal theology is a collaborative sensitivity between theological ideas and ancient mythic themes, genuinely addressing the transcendent dimensions of human experience. Tripartite in its structure, this study undertakes the three steps of imaginal theology— remembering, contemplating, and loving—holding the embrace of Anna and Joachim against the deep psyche that it might be known once again.
Investigating not only Christian but also hermetic and alchemical traditions and practices, even early Greek notions of the "sacred marriage" or hieros gamos , this dissertation redresses the essential idea of the mystical union or coniunctio , an ancient theme experienced and articulated in Anna and Joachim's embrace. A return to this deep religious mystery imparts initiatic clues of its eternal and metaphysical character to present-day onlookers, a new kind of gnosis for our modern era, not uncommon in the ancient world.
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This production dissertation is an exploration of ritual creation as mythopoetic cultural intervention. Ritual and myth are linked, and must be reinvented and retold in each generation if they are to remain viable. As collective living ritual fades to rote observance or none for many in our culture, thousands of women and men, alone or in small groups, are actively creating new rituals. Rituals that touch us deeply have the power to connect us with the energies of the divine and to make us conscious of that connection. Living rituals have the capacity to transform our perspective in life-changing ways.
The theoretical perspectives used to examine ritual's place in human life are drawn from multiple sources: depth psychology, sociology, cross-cultural studies, ritual theorists, and ritual practitioners. These explorations include the role of ritual in contemporary culture, ritual loss, the processes of ritual change and conscious ritualizing, and women's initiatory rituals.
My rituals, eight of which are included here, fall within the emergent feminist spirituality tradition. They were created for niches of need where our culture provides no rituals. I engage in a thorough exploration of my creative process, including how myth can operate as personal and life-altering metaphor. I place my rituals in the context of both traditional rituals and innovative practices. I determine through interviews that ritual can be an effective means of personal transformation.
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The archetypal psychology approach to the study of mythology equates psychology with mythology. Thus a study of mythology contributes to an understanding of the psyche. This study applies archetypal analysis to selected Welsh and Irish myths in the hopes of gaining fresh insights into the soul. Celtic cultures, combined with those of the ancient Mediterranean world, form the basis of Western civilization. They also provide a view of the world before the rise of urban cultures in western Europe. The Welsh and Irish myths examined in this study open a window that allows a glimpse of the psyche without the veneer of a city-based point of view.
C. G. Jung maintains that an alternation between analysis and creativity constitutes an authentic approach to the study of myth. This study reflects these alternating elements in both its method and its structure. Each chapter begins with an original poem inspired by the myth under scrutiny. A discussion of Celtic cultural elements pertaining to the myth follows. Each chapter then ends with an archetypal analysis of the myth's primary figures. The device of a sojourner who travels the Otherworld of the soul, here called Manannan's Reach, unifies the study. As the sojourner moves through the psyche, she encounters the archetypal figures explored in each chapter.
Several conclusions emerge by the end of the sojourner's journey. Archetypes derived from ancient Welsh and Irish mythologies still express themselves in the Otherworld of the soul. Recognition and exploration of these archetypes adds to psyche's understanding of itself. Further, the study of Celtic mythology reveals that the psyche exists as a continuum with no rigid barriers dividing its component parts. The various aspects of the soul interpenetrate and intermingle, a concept mirrored in the relationship between the ordinary worlds and the Otherworlds of Welsh and Irish mythology. Recognition of the psyche's unified nature may benefit the soul, and incorporation of the Celtic notion of an ensouled world may help repair some of the damage caused by compartmentalized views of humanity and nature.
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The role of non-literal expressions such as myth, ritual, dream, art, and theory in knowing an inclusive reality of self, other, and world are investigated from a depth psychological perspective. The concept of polycentric psyche poses multiple identity for individuals—a presence of otherness in self. Validating status of pluralistic being is difficult from within a positivistic mentality based on ultimate distinctions of real versus unreal, posing the problem: How can a singular sense-of-self know and validate a plurality of psychic identity? How is the manyness of oneness experienced as real?
Several academic disciplines are associated in considering issues of polycentric identity and pluralistic reality: anthropology, art history, literary theory, epistemology, philosophy, physics, depth psychology, mythology, and ritual studies. Pluralistic identity is found to require a dialectical logic and mythical dynamism that assert an ordinarily unreal reality—a status of the 'un-real real.' That logic requires non-literalistic expressions to manifest its non-linear dynamics and counter habitually singular sense of self, other, and world. Validating its inclusive knowing involves psychosomatic experience and sense of participation in variable states of self/other/world—or metamorphic experience of concurrent, metaphorically inter-active states in altered time-space. Archaic initiatory ritual and some modernist artistic expressions provide examples. Western mechanistic mentality represses and devalues the reality of such multidimensional logic and presence-despite supportive implications in scientific research.
Thus how philosophical, scientific, and psychological notions both deny and affirm concurrent realities or status of identity are considered. Examining how identities are composed in oppositional versus inclusive associations and how exclusive categories of real and unreal are mediated by an 'un-real real' status reveals the metamorphic dynamics of inclusive knowing. That investigation indicates a contemporary convergence of philosophic and psychological concerns. Notions in depth psychology are found to best articulate the radical shifts from modernist to a genuinely post-modern mentality demanding development of a multiple-identity capable of accommodating the manyness of oneness in polycentric psyche. Perspectives and practices deconstructing literalism and so facilitating initiation of individual identity into pluralistic knowing and being, once concerns of myth and religion, now are found to be the responsibilities of psychological culture.
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Death from myocardial infarction and progressive coronary disease is still the number one killer for men and women in the United States and other developed nations. The role of the cardiologist is to efficiently fix the "heart pump" and return the patient to his or her role in society, perhaps with a new life-style regimen. Cardiologists are Apollo-like, brilliant in logic and deductive reasoning, clearly the first defense agains
t heart disease and heart attack.
If the patient is fortunate enough to survive the heart attack, then the second and more elusive battle begins. According to the American Heart Association, approximately 50% of surviving cardiac patients suffer from post M-I depression. This population of depressed patients differs from those suffering other forms of depression in that the depression carries elements of posttraumatic stress. In other words, men and women who had no history of depression are as likely as not to develop post-cardiac depression, which makes the possibility of another attack four times more likely.
Through the lens of the depth psychologist, this dissertation investigates the archetypal meaning of "heart" from various traditions, such as Hinduism, Buddhism, and Islam, along with works of literature, art, and mythology. The depth psychologist, in conjunction with the cardiologist, can facilitate a new medical model now emerging for treating cardiac disease. The next advances in lowering mortality rates of cardiac patients will involve healing the patient's psyche in unison with somatic healing.
Carl Jung's own massive heart attack in 1944 brought him to a psychological underworld experience. It would take Jung three weeks post M-I to decide if he actually wanted to live. Jung's personal hero's journey exemplifies the psychological gold that can be mined from the traumatic experience of a heart attack.
With the help of the depth psychologist, through image and metaphor, the cardiac patient may open to new ways of seeing, as Jung did. Such work facilitates not only a physical post M-I recovery, but also assists in transforming the patient's wounded psyche through tapping into the heart's intelligence.
The healing that may be achieved through this new medical model, that of Apollo working side by side with the eternal wisdom of Sophia, brings an opportunity for regeneration rather than restoration, transfiguration versus scarring. Other gods and goddesses erupt into the room, if allowed, through the open portal of the cardiac patient's psyche—the unique gift of the heart attack.
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This dissertation centers on the silence and silencing of two nameless biblical characters, Lot's wife in Genesis 19 and the raped and dismembered concubine in Judges 19. It deals with the issue of females and voice—of who speaks and how, and of how those very decisions are formed by and fueled by [male] religious conviction. It also explores ways in which these two women actually "speak" despite being silenced.
My exploration begins by looking at how the stories have been misunderstood within biblical studies, their academic "family of origin". Next I look at feminism's attempts to unveil the perennial presence of religiously-sanctioned female subjugation, along with its goal of freeing females from gender violence and constraint. I found each of those academic fields confining. The biblical studies perspective tends to see the stories as religious teaching tools. Thus, Lot's wife's is viewed as suffering for personal disobedience, and the concubine for tribal disobedience, interpretations which are constrained by belief. Feminism too often focuses on females as victims of patriarchy, rather than on their remarkable and perpetual ability to circumvent the system. The tools which I think cracked the stories open the widest were depth psychological and metaphoric readings, both of which granted silence a voice and allowed the females to escape the prison of others' expectations and perspectives. These perspectives help us see that these two women stand in a long line of females integral to the development and survival of both Jewish and Christian monotheism. They have the power to move these traditions forward despite cultural restraint and oppression. The women say nothing, yet dominate the stories in which they appear, undermining patriarchy's domination of voice by modeling how to speak without noise.
Humans are mutable, created of clay and story. The biblical story constantly deconstructs itself: contradicts one teaching with another; undermines certitudes about humans, god and religion; throws us into a fresh relation to each story and its permutations in ways that have the power both to construct and destroy, and perhaps even re-construct, our beliefs—perhaps even our faith.
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Like Hermes, the archetypal mediator between the realms of heaven, earth and the underworld, the memoirist mediates between time past and time present. Memoirs bring forward an event of the past and re-enact it by giving it form in writing. Contemporary memoirs address some of the same archetypal themes found in ancient myths such as origins, the mother-child relationship, initiation, quest, descent and return. Myth fuels the psychic desire of humans to understand their origins and therefore their destinies, and memoir writing fuels the individual's search for meaning. This dissertation analyzes memoir as it relates to myth and depth psychology and the production piece, Hooked on Hope , explores in particular the myth of Demeter and Persephone as it relates to the mother/child archetype.
Hermes has been portrayed in myth as trickster and liar, just as the memoirist has been accused, at times, with playing loose with the truth. This project shows through a review of the current literature on memory that emotions affect memory, and time and distance from the event enhances or distorts recall. Just as myth does not provide absolute truth about the origins of life, memoir cannot provide absolute truth about a remembered event. Truth in memoir is relative to the emotional memory of the narrator.
The hallmark of memoir is the ability of the writer to discover meaning in her life. Much as in the process of psychotherapy between a patient and therapist, an inter-subjective field emerges in the process of memoir writing to reveal the unconscious. The self-reflection required of a memoirist mirrors that of a patient integrating unresolved material. Soul work occurs in the writing of memoir.
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After analyzing the myth of Demeter and Persephone, contemporary memoirs about the parent/child relationship are examined to demonstrate the archetypal themes of descent and return and parental love and powerlessness. Specific memoirs written by parents about a child's addiction or mental illness are analyzed to illustrate the themes of abduction, grief, wandering, immortalizing the "golden child," and waiting for the return. This dissertation provides mythic perspective on the genre of memoir writing: memoirists are our contemporary mythmakers.
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People have been watching birds fly for thousands of years. The apparent magic of their ability has captured and stimulated the imagination of countless cultures. The bird's agility and maneuverability has also inspired the creative ingenuity of aerodynamic engineers. This study is a search for the metaphor of flight in image, idea, myth, and experience using an analogical method of inquiry developed by David Miller.
The study explores the archetypal character of flight from two perspectives. The first examines winged figures in ancient Egyptian art starting with the ordinary birds of everyday life, their behavior, and their unique habitat. These commonplace birds provide inspiration for the extraordinary images of the divine. The ancient images of the hawk and the vulture are investigated with particular attention given to the creation images of Atum and the Ennead of Heliopolis, looking also at Thoth, hieroglyphic writing, the ba, Maat, Isis, and Nut.
The second perspective looks at a contemporary image of flight that involves the actual experience of flying a plane which is explored via memoir, aviation stories, and the aerodynamic musings of a professional pilot. Our ideas about flight are different now that we are flying, and an examination of the metaphors of this recent image in connection with the ancient images can help to expand our understanding of the nature of flight as well as help to reconnect the modern experience of the technology of aviation with its mythic past.
The metaphor of the migratory bird, with its motif of the journey, allows the ancient and modern images to speak to one another across time through an exploration of several of the Books of the Netherworld written on the walls of the tomb of Ramesses VI in the Valley of the Kings.
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Memoir is vehicle for re-storying a life. It is a genre which assists one in making meaning of life experiences, particularly troubling or traumatic events. This study explores the influence of the Greek Goddess of Memory, Mnemosyne, on women's memoir. Her story can be imagined as a template for the woman memoirist which informs the content, form, and use of memoir. A visual image in the form of a Ven diagram with three intersecting circles is presented as an organizing metaphor for this work. The center of the diagram, the area where each of these three aspects overlap, is conceptualized as an imaginal field of the Other, offering an aperture which invites the reader into an Other's experience.
The story of Mnemosyne with that of her siblings is very briefly recounted in Hesiod's Theogony . The purpose of this dissertation is to keep the idea of the archetypal Feminine, in the persona of Mnemosyne, as an overarching metaphor while investigating women's memoir. Mnemosyne represents one manifestation of the archetypal Feminine, a figure who presents qualities of earthiness, ephemerality, passion, creativity, and survival of trauma. She is a figure who will not forget, who will not consent to erasure.
I have chosen to focus specifically on the use of memoir as a way of healing from trauma. This trajectory is in keeping with Mnemosyne, since she was the daughter who witnessed the sexual trauma of her mother via the repressed births of both her siblings and herself. Mnemosyne's birthing of the Muses underscores her commitment to express all the facets of personal story: grief, sorrow, joy, love, body, breath, revery, and humor. The woman memoirist follows Mnemosyne's imaginal lineage in crafting all memoir, particularly trauma narratives. The production portion of this dissertation is a memoir, //Face the Moon, Ask for Blessing//, which presents an example of how one woman picked up the pieces of a childhood interrupted by trauma. This memoir demonstrates a reweaving of a mother line by imagining two foremothers, their wounds, and how their dark beauty is sung forward into succeeding generations.
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Art-making gives form and image to soulful healing. This dissertation explores this parallel journey of transformation. The art studio transforms to a mythic and meaningful arena when understood as a sacred recreation of the cosmos.
This study explores how the interaction between the primary elements, water, earth, air, and fire facilitates creativity. Furthermore, the unifying principle of creative activity in the ceramic studio results in a continual vacillation between order and chaos. The edges between artist and work blur as the artist dances between the roles of malleable mud-woman and stubborn ceramic-statue wary and resistant to change. The miracle of change, in the soul and in the art, inspires deep reverence.
This work broadens an understanding of how the psyche is fed by image. Ambivalence and paradox in both beautiful and hideous images demonstrates the need to hold with opposite poles, value the unexpected, and to pay attention to detail. During the years devoted to this project the artist found herself particularly and mysteriously drawn to the making of three-sided figures. Only gradually did she realize how these triple images represented the power of the feminine. She discovered that bringing together the perspectives of hermeneutical interpretation, phenomenological awareness, and philosophical reverie yielded a kaleidoscopic vision of the psyche that simultaneously holds both introversion and extroversion.
Myths, arriving in the form of dream, story, poem, hymn, and tale, provide the symbols that inspire and materialize images during the ceramic process. One also recognizes an inner calling to do, to make, to explore, to observe, to listen, and to imagine a center that is connected to all beings. Tolerating and seeking the unknown across formerly uncharted chaotic territory to a liminal threshold, necessarily revises the concept of a preordained or predestined pilgrimage.
The process of working with clay packs a powerful punch that propels one into an inner world filled with remembered failures, insecurities, and frustrations. Connecting to the present moment, to our own past, to the myths of other cultures, and the arriving multiple images provides the springboard for a leap through the hoop of fire into a new perspective.
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Diss. Pacifica Graduate Institute, 1999.
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Modern medicine has come far in the care and curing of the human body through scientific analysis, research, and practice. Yet contemporary medicine often ignores the traditional art of healing rituals developed prior to the rise of the scientific method. In particular, modern medicine generally avoids consideration of the use of the mind-body-spirit relationship as a potential factor in the healing process.
It is the focus of the present study, first, to spell out those healing methods developed by the ancient Greeks, with emphasis on their ritual myth and storytelling, as used by those medical practitioners who first swore the same oath of allegiance to Hippocratic as doctors swear today; second, to illustrate the development of modern organ transplantation by tracing the rise of successful renal (kidney) transplantation in the twentieth century; and, ultimately, to detail and present the results of a testing of their relationship by using the ancient ritual of myth making and storytelling in conjunction with both an experimental group and a control group of kidney transplant patients. This study tests the hypothesis that the effect of storytelling and storysharing on the patients’ mind-body-spirit continuum throughout the preoperative and postoperative periods results in a lower transplanted kidney rejection rate in the study group than in the control group.
The results of the fifteen-patient experiment, documented here in detail, do indeed support the hypothesis. AccordingJy, recommendations are made first for an expansion of this pilot study into a broader one and ultimately, if that study continues to support the present work, it is urged that such ancient healing ritual as discussed in this text be included as an integral part of modern transplantation medicine, as a way both of lowering the need for anti-rejection medication and as part of the overall process increasing the success rate of the transplant procedures.
More generally, the inclusion of ancient myth making and storytelling ritual methods working through the body-mind-spirit continuum may be indicated as appropriate throughout the broader spectrum of modern medical care. Ultimately. in this way, the insights of depth psychology and the field of mythological studies may come to have a profound impact on modern medicine in general.
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In this production-style dissertation the author seeks to increase understanding of concepts such as personal myth, transformation, and individuation through direct experience. To gain access to experiential knowing, the author chose to de-emphasize logic and reason and encourage spontaneous image-making phenomena: dream, active imagination, memory, and story. By physically attending to, enlarging, and giving architectural form to irrational content, a four-year experiential journey unfolds.
The outcome is a hand-built sacred space reminiscent of a round Anasazi kiva, a written chronicle that discloses the experiential process that took place in the course of building the kiva, and a discussion of the relevance of this work to the field of mythological studies and depth psychology. Surprisingly, the structure, both in form and function, resembles an alchemical chamber—a vessel of transformation. Built primarily of mud, a prima materia of alchemical processes, developments leading to the structure's creation reveal a corresponding transformational effect on the maker.
The methodological approach is phenomenological: a receptive attending to everything that takes place during the creative process. This approach invites the scholar to suspend disbelief in an effort to move beyond the limits of evidence-based consensual reality. By faithfully attending to the experiential aspects and the emergent phenomena associated with the construction of the kiva, new insights emerge that are outside the bounds of objective scientific understanding. Since the world of the imagination constitutes a phenomenological reality unlike that of scientific materialism, and this interior realm is neither measurable nor quantifiable, the author employs the tools of description to convey interior happenings that move beyond clichéd ways of knowing into new insight.
This production dissertation augments the body of knowledge concerning the archetypal personal-myth-making process and the role of embodied experience in personal transformation. Practically speaking, the work models an approach to reconnecting with instinctive and psychic vitality. Though the project is particular to the creator's circumstance, it may serve as an example that enables the contemporary post-modern individual to revive the imagination and regain a sense of empathy with forces that participate in transformational journeys: the land, the community, the ancestors, and many other elements that enter into the opus of self-realization.
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This dissertation is a study of leadership from an archetypal perspective, centering on the protagonists from four works of fiction: Homer's //Odyssey//, the movies //High Noon// and //Norma Rae//, and Shakespeare's //Life of Henry V//. The study is based on an original model that describes two separate but complementary forces essential to effective leadership: decisiveness and connectedness. Decisiveness derives its energy from separation or differentiation and can be associated with the archetypal masculine or Taoist yang and Jung's principles of logos and animus . Decisiveness corresponds to the ~Cartesian-Newtonian science of separate moving parts. Connectedness derives its energy from inclusion or integration and can be associated with the archetypal feminine or yin and Jung's eros and anima . Connectedness also corresponds to the interrelatedness of modern quantum physics.
This study begins with a theme, first laid down by Robert Graves, Joseph Campbell and others, that the epic hero Odysseus, already well invested in masculine decisiveness, has to learn in the course of his attempts to return "home" about feminine connectedness, through effective education from a number of powerful women. By examining Odysseus's transition from a narrowly masculine hero to a transcendently transformative one, we can identify several significant implications for the nature of mature leadership.
Odysseus begins, however, as a cunning and differentiated warrior which is the type of leader represented by the strong-silent hero Marshall Will Kane in High Noon . Typical of American movie heroes of 1940s and 1950s westerns, Kane is secure in the decisive masculine dimension but alienated from the feminine and consequently unable to attract followers. Norma Rae Webster, a textile worker in rural Alabama, is more advanced in feminine connectedness and, coached by two male helpers, comes to understand and integrate her masculine decisiveness. Norma Rae leads a successful move to unionize a factory: her standing silently on a worktable at the climax of the story is the triumphant fusion of the archetypal masculine and feminine and a symbolic act of great eloquence, announcing a new kind of leader. Finally, in his portrait of Henry V, Shakespeare lovingly portrays an ideal monarch, strong in both the decisive and connected dimensions.
Through examinations of these characters and others on an archetypal level, this study places leadership in a new light, focusing indirectly on cultural changes from 1952 to the present when developments throughout American culture have begun to insist on a new style of leadership inclusive of both masculine and feminine strengths. This leadership type is appropriate for an age in which interconnectedness has replaced separate moving parts as the dominant operating image and when complicated decisions about these increased interconnections must be made daily.
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However remotely one goes back in human history, stories of light-filled paradises and harrowing underworld descents can be found. This dissertation is an examination of otherworld journeys made by those on the brink of death—near-death experiences. This study of near-death narratives is an exploration of the repeating archetypal themes and symbolism in contemporary near-death experiences.
Death and rebirth are primordial ideas appearing in ancient times and in near-death events. Innana, Persephone, Orpheus, Tammuz, Aeneas, Jesus, and untold others have made otherworld travels. Contemporary otherworld travelers—the near-death experiencers—like the shamans of ancient times, travel out of their bodies to a "light" filled cosmic paradise and to terrifying underworld domains. This psychic journey is a plunge into the archetypal realm and an encounter with the unifying governing principle—the Self archetype.
Near-death phenomenology contains mythic motifs: the departure of the soul from the body, and the meeting with the divine light or an encounter with its shadow—the existential darkness. Following this experience of the mysterium tremendum , there is a psychic rebirth into the body where the need is to find meaning for what has happened. The numinous quality of this divine event penetrates the soul, profoundly impacting affected individuals and producing significant changes in values, attitudes and beliefs.
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Humans' varying relationships with water and water creatures, from traditional nature-based societies into our contemporary technologically oriented one, are explored, along with the connection that these relationships have to ecological balance and environmental health. Before industrialism and the technological, electronic age, people believed that nymphs, spirits, goddesses, and monsters were hidden in creeks, lakes, rivers, and ponds. The forces of storms, floods, hurricanes, and tidal waves were attributed to deities and spirits whose powers were believed to be far greater than those of humans.
The disenchantment with the spirits and beings of the waters spurred by the Enlightenment helped mold a consciousness in humans which was less concerned than in prior times about potential repercussions from water spirits for the contamination and degradation of waterways. With waning belief in the powers of the invisibles of land and water, it became easier and more convenient to intensify the manipulation of water for human ends and to dispose of pollutants from the burgeoning industrial complex directly into the waterways of Europe and America. In contrast to preindustrial and nature-based cultures which viewed water as alive, enchanted, and animated, modern, industrial, commercial societies have come to view water largely as a mere "cleaning fluid"—something to be manipulated, subdued, and exploited for human ends. In the modern era, almost all waterways have been dammed, manipulated, and/or polluted, and a significant amount of all wetlands have been covered in concrete. The transformation in perception of water from a spirit-imbued sacred substance to a commodity is explored from the perspectives of comparative mythology, archetypal psychology, ecopsychology, bioregionalism, and ecofeminism.
To solve the serious problems with water in the contemporary world, people must experience some kind of reenchantment with water where a primal sense of awe for water's life-giving and regenerative powers is reawakened. Restoring awareness of the spirit dimensions of water, expressed in myths and stories from around the world of deities and numinous beings animating water's myriad forms, expands human consciousness from the predominantly mono -psychological orientation of modern, linear rationality, limited to what is verifiable and quantifiable, to a poly -psychological awareness of the nonphenomenal and imaginal dimensions of water. When this heightened sense of mythical, imaginal, and spiritual consciousness— mythos —is applied to practical work in the world— praxis —to communicate environmental messages, to mobilize people into action for change, and to restore land and water, a new potency is gained in momentum toward cultural transformation.
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This text is an exploration of the current interpretations of the meaning of pain. Pain, most commonly explored for bodily meaning, occurs on multiple levels of existence, transgressing soul, spirit, psyche, and body. As transcendent provocation, the experience of pain carries meaning of the soul. The scientific and technological aspects of postmodernism have overlooked the healing potential of soul exploration and discovery.
Just as the unseen atoms unite to form the molecules, that in turn combine to build dimensional matter, so the invisible archetype is made manifest through images and ideas that organize into the patterns of behavior that are conveyed in mythology. Mythology reflects life processes and it is life that animates myth. The physiological descriptions of the bodily tissues and their functions are communicated by way of the subliminal archetypes that construct motifs of meaning. One can tap the undercurrent of soul by reading the tissue response and the message of pain with an archetypal lens.
As the physical body is the material extension of soul, "dis-ease," as an expression of the soul's discontent, can be approached for meaning via archetypal exploration. Mythophysiology suggests we look within and beyond the mechanical interpretations of body physiology to discover the somatic expression of the archetypal constituents that form patterns of meaning involving warriors, heroes, victims, guardians, martyrs, prostitutes, healers, saboteurs, divine children, teachers, and the crone/old man.
Healing is facilitated through Jung's idea of the transcendent function, where meaning is developed through dialogue. It is my conjecture that a dialogue of exchange can occur between the realms of mythology and physiology utilizing active imagination, dreams, and scientific perspective to disclose unrecognized archetypal patterns expressed by the tissues. The third thing created is new meaning, which comes forth from the unconscious sleepy soul. Once the previous unconscious patterns have been made conscious, they are accessible for attention and design.
Pain is an enigma of life that we seek to escape and avoid. Mythophysiology encourages an exploration of the body for hidden meaning by interweaving current scientific paradigms with the timeless reality conveyed in mythology.
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This dissertation brings together a theoretical exegesis and a creative work in the form of a book of poems revealing multifoliate aspects of love, beauty, and desire within Aphrodite's complex meanings. It proposes to show that a coalescing of theoretical commentaries, with a collection of poetry, will reveal and enhance a more comprehensible understanding of the Greek goddess, Aphrodite. It addresses theoretical and creative perspectives of historical, religious, philosophical, aesthetic, and psychological significance by revealing the enormous power, deep irony, and necessary paradox constituting the mythology surrounding archetypal Aphrodite.
The dissertation's central thesis is that the Aphrodite complex of meaning requires the presence of a //trinity// of love, beauty, and desire in order for its authentic archetypal energies to constellate. It postulates that the tension of opposites, manifested within sacred and profane images of Aphrodite, reflects liberating and releasing sensibilities, balanced alongside those of fear and terror. Consequently, archetypal Aphrodite represents a movement towards equilibrium, rather than chaos and confusion.
This dissertation further posits that //objective// and //subjective// perspectives bifurcate only through signified reasoning. Subsequently, experience and perspective are married interminably through phenomenological existence.
This dissertation approaches the Aphrodite complex of meaning through a //quaternity// of aesthetic, phenomenological, psychological, and mythopoetic principles, including the medium of poetry and the poetic sensibility, in revealing the human alchemy inherent in the Aphrodite complex of meaning. Paramount questions arising within the dissertation are: "How is Aphrodite's trinity of love, beauty, and desire revealed, and concealed?" "What does the making of poetry and art have to do with archetypal and erotic irony in the mythic images of Aphrodite?" "What are the effects of limiting Aphrodite solely to sexuality?" "Where and how are images of the archetype generated?" "Why is the love-hate relationship with images of Aphrodite meaningful to individual and cultural psyche?"
This study also proposes, as a subtext, that recognizing and honoring Aphrodite befitting her cosmogonic importance, leads not only to psychological and conscious healing, but also escorts humanity towards values that retain equilibrium within a paradoxical and precarious world by ensouling it.
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Diss. Pacifica Graduate Institute, 2003.
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This production-style dissertation interprets archetypal psychology, in particular the work of James Hillman, as an aesthetic of psyche which is personified and animated theatrically through the fiction of Don Quixote. The reality of psyche is expressed as fictional or imaginal. This means recognizing the subjective side alongside the objective side of the world. The two sides are reciprocally related and give birth to various visions of the world, one of which is the vision of knight errantry.
Don Quixote is an ironic hero. He is a caricature of the heroes found in myth, and he is the opposite in character to what archetypal psychology refers to as the heroic ego. Don Quixote, interpreted nonliterally, reveals archetypal patterns and rhythms belonging to the mythology of Dionysus: the topsy-turvy underworld of carnival in which the rules of the daily world no longer apply.
This study intentionally cultivates a Dionysian understanding of the world that does not support a dualistic perspective. A Dionysian consciousness overturns the division of mind/body and emotion/reason found in the fictions of concretization such as empiricism, positivism, or scientific methods, which separate subjective value from a so-called value free objective reality. The perspective presented here sees the world as open to different modes of expression, one of which is the imaginal.
The choreographic imagery of the production of this dissertation portrays both the cultural aspect of psyche and its polytheistic character, rather than the literal expression of particular people’s lives. The imagery is a composition in space with emotional bodies in motion. The premise is that written and spoken language alone may not be able to convey as much subliminal and subtle meaning as they do when wedded to an emotional body. This study acknowledges the equality of the emotional body with the mind by understanding it as equal to mind. Also, metaphorical thought is understood to be connected to emotional body and is not seen as a mere prior step to thinking nor as separated from it. The stage provides a poetic place where the invisible may be made visible by an aesthetic performance based upon “exteriorizing the interior” through emotional bodies in motion.
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This production dissertation follows two paths. One is theoretical. The other is mythopoetic. The theoretical inquiry examines common practices of leadership selection and development that flourish in contemporary corporations. It argues that the impetus to create selection and development procedures in the first place is rooted in the archetypal imagination and is a manifestation of a psychological "archetypal impulse" to sort, categorize, and rank people and things. It demonstrates that leadership selection and development shares common terms and parallel motifs with evolutionary biology. It provides an historical review of the motifs of selection and development before "leadership research" became a recognized field of inquiry and praxis. This review points to an initial proximity between early leadership thought and early evolutionary thought. The dissertation suggests that the motifs shared by the two fields diverge not in word but in meaning, and that this operational variance points to a philosophical divide. In conclusion, through fairy tales, the dissertation applies the working definitions of words from evolutionary biology to their homonyms in the leadership field, imagining what myths and rituals of leadership selection and development might look like from an evolutionary biologist's point of view.
The mythopoetic exploration is a "walkabout." It follows the shadow path. Its trajectory lies in the untouched spaces beside the beaten trail. In this dissertation, the walkabout takes the form of fairy tales that are platted between theoretical lines where, after all, the mythopoetic always lies in wait. These fairy tales are mythopoetic expressions that remark on, question, lampoon, and spoof some of the habituated ideas and expressions presented in the theoretical thoroughfare. They play with contemporary leadership practices and imagine new ones. The mythopoetic world asks only to be witnessed. It requires no allegiance. It needs no herm. It is an enigma. A koan. It asks for nothing but...consideration.
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This dissertation examines a residential treatment facility and its residents. It focuses on a systemic split that occurs in clinical treatment between the psychoanalytic and cognitive behavioral therapy approaches. Residents manifest certain fantastical narratives and images, which are relative to their unique circumstances. Meanwhile, the facility's clinical treatment team define residents using psychiatric diagnostic standards and behavior-oriented methodologies. Residents use stories to compensate for their experiences of trauma and alienation. Clinicians and staff, on the other hand, adhere to interpretations and practices that are designed to contain extreme behaviors. These differing perspectives can conflict with one another, leaving the clinician and staff in a state of confusion, unable to treat a disorder effectively.
Based on the //Diagnostic and Statistical Manual of Mental Disorders (DSM IV)//, cognitive behavioral therapy and psychiatric medications are the dominant treatment methodologies at residential treatment facilities. Clinical staff emphasize containing, modifying, and measuring behaviors. They cannot tolerate other approaches that require more time and resources. The diagnosis itself then becomes a narrative that imposes a defining myth of its own on the individual. It determines the course of the resident's treatment, but also the shape of his self-understanding. Yet, the presence of fantastical narratives and images suggests other possible meanings for the residents' pathologies. A diagnosis and personal narrative and images are both mythic formulas of self-identification that inform the beliefs of the resident, clinician, and staff. A personal mythological approach puts the story a resident tells back in relationship to the literal tendencies of the psychiatric diagnosis. Therefore, mythic narratives and images help reintroduce fantasy to the diagnosis. Diagnostic categories and personal mythologies operate on one level as fictional components of a complex myth system. Instead of viewing them as opposing frames of reference, I propose to demonstrate that the formulation and interpretation of these narratives and images can serve as a coherent process for clarifying the therapeutic aims of treatment.
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The belief that mythic narrative is a genuine way of knowing and perceiving truth guides this dissertation. I propose that narrative knowing is as valid for internal, subjective states as the validity of the empirical, propositional method is for external experience. This conviction is examined through the theories of hermeneutics, linguistics, neurology, psychology, and history with an emphasis on exploring the philosophical shift from modernity to postmodernity at the time of the change into the third millennium of the Common Era.
Narrative as valid knowing is evaluated by analyzing the linguistic theories of the function of metaphor, the neurological theories and current research regarding brain lateralization, and the historical effect of both internal narratization and external written narratization on individuals as well as society at large. Narratization is shown to be a vital function of healthy, secondary process thinking with historical roots in pre-literate societies and important implications for post-literate society.
The roles of word and image in narrative, especially with regard to the healing aspect, are discussed and illustrated through the presentation of the myth of Prometheus as an example of narrative healing, the story of Ivan Illych as an example of metaphor in healing, and the narrative of Jacob wrestling with an angel as an example of active imagination in healing.
A personal experience of re-membering the myth of Demeter and Persephone in the format of a contemporary novel is presented as an example of healing soulwork . The value of this kind of narrative knowing points to the continued need to maintain a balance between the mythic and literal aspects of life, both of which are critical to the health of individuals and society alike.
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This hermeneutical study examines the phenomenon of ritual tattooing that is affecting a broad spectrum of Western culture and looks for the archetypal imprint, Carl Jung's idea that identifies the primordial nature inherent in humanity ( CW 9.1: 4-5) that provokes someone permanently to mark his or her body.
Currently in the Western culture, body modification, behavior that permanently alters the way our bodies look and feel, is practiced by people regardless of age, socioeconomics, and educative level. We tattoo our bodies for many reasons, two of which are the mark of self-identity and the reclamation of the body. Regardless of the reasoning for this bodily enactment, one thing is clear: humanity has an ontological mandate that is rooted in our ancestral heritage, where ritual tattooing has been used as an initiatory rite of passage for millennia. Tattooing the body creates an opening for humanity's ontological need to use the flesh as a repository for keeping our stories.
Yet the hierarchical order, steeped in a monomythic mind-set, castigates this ancient practice. Nonetheless, a new archetypal language that uses the body as a canvas for paradigmatic change is being scripted. This body language proclaimed by an expanding tattooed society challenges the accepted ideologies encased within Western culture. Friction and instability between the old and new orders is inevitable. However, the collective psyche is currently embodying a powerful archetypal dynamic capable of dislodging these long-standing decrees.
In order to comprehend this phenomenon, interviews, video-taping, historical research, mythology, depth psychology, and personal experience have been employed by this study to codify the impact that the tattooed body is making on Western culture. In support of the theoretical findings, a 30-minute video production is included with this dissertation.
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Entropy affirms the universal impermanence available to all life in everyday experience. A physics term meaning in change , entropy is also the second law of thermodynamics. Heat moves irreversibly from warmer to colder bodies, with a steady and measurable loss. Entropy underlies the perception of time's direction and the increasing complexity and disorder in the universe. Life as we know it depends upon order, yet entropy means there are infinitely more disordered states than there are ordered ones. The concern of this dissertation is how human beings cope with the dissymmetry between the law of entropy and life's need for order. Carl Jung elaborated archetypes of the collective unconscious: nuggets of awareness we arrive with, or intuit, before rational thinking. Examples are the mother, puer, good and evil, hero, fool, divine child, crone, and wise old man. Such powers appear unbidden in many cultures and become the gods of myth. Today, archetypal psychology studies these forces that are prior to logic or linear thinking and gathers them from eons of dream, myth, story, and art. This dissertation investigates how archetypal entropy or "disorder" is expressed in myth; religion; psychology; the arts of tragedy, film, and poetry; and in physics and biology. Change, randomness, and death often are denied. Romantic, optimistic need for "happy endings" is contrasted with examples of archetypal entropy from all the areas named.
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Weaving as a method of joining two elements or threads at right angles to one another by means of a loom has been documented to approximately 29,000 BCE. For the majority of this time, weaving was done in the home, either as a domestic activity or a cottage industry. But with the Industrial Revolution weaving moved from the home to the factory and the personal familiarity of weaving was replaced by a Dickensian image of factory workers, loud machinery, and lint-filled workrooms. Yet the persistence of weaving as metaphor suggests that the image of weaving extends beyond the literal making of cloth. It implies that weaving is a potent archetypal presence in spite of the lack of personal familiarity with weaving in contemporary culture. This production-type dissertation looks at the persistence of weaving as an image and is guided by several questions: How is it that weaving as an image does not go away? How does weaving as an image present itself? How might weaving be a mythology?
The common etymological heritage of weaving and text suggests a possible place to begin this inquiry. Both text and textile derive from texere , meaning "to weave," suggesting that both the writing of text and the weaving of textiles are necessary for this dissertation. Accordingly, the questions posed above are explored textually through the structural process of weaving cloth, the historical appearances of weaving, the myths of Neith, Athena, Grandmother Spider Woman and the fairytale of the Three Aunts, and my personal experiences of weaving. Each chapter concludes with woven artwork that tracks the evolution of my personal mythology as a weaver and suggests that the text of weaving is also visual and material.
Weaving is, at its most basic, the bringing together of dissimilar elements. The historical and cultural appearances of weaving suggest that its persistence in metaphor results from its existence as a healing and creative archetypal presence. A careful look at weaving may offer insights into how the notion of weaving affects contemporary culture and provide a possible means of acknowledging and living within the World-Wide-Web that weaving is.
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As two million people a year take the Myers-Briggs Type Indicator in educational and corporate settings, they are introduced to a personality assessment tool developed by Isabel Myers with the purpose of creating a method that makes "the theory of psychological types described by C. G. Jung understandable and useful in people's lives" (Isabel Myers, MBTI 3). Isabel Myers' intention is gaining momentum as typologists and Jungian scholars increasingly discuss archetypal aspects of typology. Simultaneously, archetypal psychologist James Hillman popularizes his premise that "Mythology is a psychology of antiquity. Psychology is a mythology of modernity" ( Dream and the Underworld 23).
Against this backdrop, the dissertation examines mythological dimensions of the MBTI with an emphasis on how typology can serve as an entry point into discovering one's personal mythology. The methodology is to deconstruct one MBTI subtype utilizing Jungian analyst John Beebe's eight-function model and examine the archetypal images and mythologems that emerge. The process is then reversed as the reconstructed perspective of the subtype is utilized to amplify a fairytale ("The Ugly Duckling") and a symbol of transformation (the lotus).
Invoking the Delphic Oracle's admonition to "know thyself," the study examines the author's MBTI subtype--INFJ (introverted intuition with feeling)--and reflects a feminine perspective. Within that context, the following questions are explored: (1) What mythologems, images and narratives emerge? What does a heroine's journey look like for a female introverted intuitive feeling type? (2) How does utilizing the typological perspective of the subtype to amplify a fairytale and a symbol of transformation illustrate Jung's concept of typology as a "compass for the soul" during its journey towards individuation? (Jung, CW 6:958-959).
The study demonstrates how examining one MBTI subtype in depth using Beebe's eight-function model joins archetypal psychology's imaginal sensibilities with the statistical strength of the MBTI to guide the process of discovering one's personal mythology.
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Using the image of the pilgrim as the basic metaphor for the hero's journey, this dissertation examines the relationship between the theoretical construct of the hero's journey and the development of leadership. A main argument of this dissertation is that the image of the pilgrim exemplifies an archetypal behavior that could serve leaders in today's increasingly complex corporate climate. I also argue that the image of the pilgrim can be one of the foundational symbols for the development of leadership strength, courage, wisdom and endurance. Additionally, the research illustrates that the archetype of pilgrimage activates the flow of creative images necessary for psychological development in ways particular to leadership. Lastly, the research looks at how using the image of pilgrimage might allow one to deepen one's understanding of self through the rich resources of the psyche.
Referencing works in mythology, religion, history, psychology, philosophy, art and current thinking in management, leadership and organizational development, I demonstrate that the foundation of successful leadership development is rooted in the metaphor of pilgrimage.
Leaders who consciously embody a rich imagery, such as that of the pilgrim, have the capacity to continually motivate and lead the people and organizations for whom they are responsible in a sustained and creative manner. Through the metaphor of pilgrimage one can attain a deeper inner and outer awareness of self, including increased understanding of one's own personal patterns and opportunities for growth. In an increasingly fast-paced, diverse, complex and technological world in need of healing, the ability of leaders to proactively move outside of the known to facilitate the new concurrently develops the ability to work with and flow with the rate of change present in society at any given point in time. The creative use of images, such as that of the pilgrim, for the purpose of leadership development can be instrumental in developing the qualities essential to becoming a sustaining and transformational leader.
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This production style dissertation examines the role of play for humans through archetypal psychology, cultural stories, mythology, shamanism, and history, showing that individuals have the ability to change their own lives, and that play is available to assist. Observation and recognition of the presence of play reveal a personal myth process that utilizes play in multiple roles. The personal myth process is illustrated in the form of a workshop for individuals, couples, or groups.
Through the theories of established psychologists: C. G. Jung, James Hillman, and Michael Conforti, this study revisits the definitions of collective unconscious, archetypal psychology, and field theory in relation to personal stories, exemplifying how play is present throughout these works. It follows Hillman's theory that the human soul resides in a deeper location than the collective unconscious ( Archetypal Psychology: A Brief Account 11-13 ). Combining Hillman's theory with Conforti's suggestion that individuals who are aware of their choices can rid themselves of undesirable fields of influence, the work demonstrates that various aspects of play can also influence human choices. There is a theoretical progression from Jung through Conforti that empowers an individual to manage fields of influence around her life.
However, how does play relate to these fields of influence, the archetypal forms? Johan Huizinga's work provides a broad look at play in culture while painting a backdrop from which ritual and ceremony arise. Huizinga shows that play emerges through a variety of channels, focusing on play as something other than a surface activity or subject, and leading into Lynda Sexson's contemporary mythmaking in which Sexson states: "At play we are most conscious, clever, sharp, yet most deeply unconscious and playing out" ( Ordinarily Sacred 68). In this place Sexson recognizes that image and voice are heard, as Stephen Nachmanovitch displays through his work. Nachmanovitch underscores the value of imagination and creativity in life, describing the vital force of play.
The existence of play is demonstrated in Paleolithic cave art, several shamanic practices including the experiences of Karen McCarthy Brown in Brooklyn and Laurel Kendall in Korea, and current tribal rituals in community, through Sobonfu Somé and the Degara Tribe in Africa. Play is the image, the mirror, and the modifier of an experience. It is both initiator and initiated. It is an asset that, if recognized, can assist individuals in their life choices.
The production, a workshop, is a forum in which individuals, couples, or groups can playfully recall and use their personal stories to address larger life questions: Why am I here? What am I doing? What is my purpose? It is a three-day workshop, a process of play that invites individuals to create a map of their personal stories: a personal myth map, from which they can play with their pasts in order to imagine their futures.
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Individuation is both the crowning idea of C. G. Jung's analytic psychology and directs how we read stories in the nascent field of mythological studies from a depth psychological perspective. This project considers individuation from a unique angle: its narrative form. It seeks the //plot// or //mythos// of individuation in an Aristotelian sense. What it finds is a mythic //repurposing// of the stories of one's life in the activity of telling the story of the self's becoming a Self to suggest that narrative and individuation are inextricably linked. It also finds a specific genre typology that correlates narratively with the theory's dynamic in spiritual autobiography.
This dissertation juxtaposes the symptomatic strategies of Jungian interpretation to narrative theory for a kind of seeing capable of identifying plot structure. After introducing a narrative approach, the project re-examines Jungian individuation theory and its typical use of narrative in the work of Edward Edinger. The discussion contrasts Edinger's plotting of individuation for archetypal patterns found in the biblical narrative analogues of Adam and Eve, Job, and the Christ narrative, with an examination of these stories within their biblical narrative form.
What we discover is a way of story telling that utilizes the past, tradition, and a relationship to heritage in the creation of an identity deeply formed in and by narrative. This kind of story telling iterates in the //mything// of Jesus in the Synoptic Gospels. It also evidences in spiritual autobiography which retells the story of the self towards an end of an integrated Self. The form double plots, manifesting repetitive, recursive, and cyclical patterns A narrative approach elucidates the plot of individuation's theory characterized by two separate phases with distinct goals that are nonetheless inter-related in a cyclical dynamic. Individuation's narrative is a story that can only be told when it reaches its goal of the Self. It belongs explicitly to individuation's second phase. The goal of the Self finds meaning only in the telling of the story of how the self became a Self. In this way the stories of our lives //myth// themselves into the story of the Self.
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//Poem as Psychopomp, Poem as Prayer: A Reading of T. S. Eliot's Four Quartets//, by Sandra Lackenbauer, explores the mythic dimensions of Four Quartets, focusing primarily but not exclusively on the poem's concerns with psychopomp, the Underworld, and with the sayings and unsayings of prayer. A novel interpretative template is developed to investigate psychopomp and prayer and other themes and to ascertain the ways in which seemingly disparate images from the poem relate to one another mythologically.
After researching literary, psychological, and historical analyses of Four Quartets , comparative studies of Eliot's poetry and plays, and critical biographies of T. S. Eliot, the author found no exegesis of the interrelationships of the various mythic themes of Four Quartets. In response, she founded a figural theory of art on eight archetypal and interdependent perspectives of imagination. This method, inspired by the Amerindian Council process and the Sufi Enneagram, is represented by a mandala, a circle with eight different aspects of imagination around its circumference. These imaginative perspectives include creation (represented by the Clown archetype), contemplation and prayer (Peacemaker), passion (Lover/Warrior), aesthetics and psychopomp (Shaman), domesticity (Keepers of the Hearth), ethics (Lawmaker), alchemy (King/Queen), and wisdom (Advisor).
Even though works of art may be evaluated from any of the imaginative perspectives individually, this hermeneutical and experiential reading of Four Quartets engages all eight, together with some of their interactions, to call forth the ways in which the poem's themes echo and respond to one another. First, each imaginative perspective is introduced and the archetypal patterns of Greek, Roman, Hindu, Buddhist and Christian myths that underpin them are described. Then, using these eight perspectives of imagination as a template to read Four Quartets , an interpretation of the poem is presented
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This dissertation explores the medieval legend of a young woman who, in adolescence, disguised herself as a man, spent much of her young adulthood studying at the great monasteries of the early middle ages in the guise of a monk, ascended to the highest level of the papacy as Pope, and was stoned to death giving birth during a papal procession. According to legend, she reigned for two and a half years, concealing her female sex until her tragic demise in 853 CE. Although written out of the official canon, she was known as Pope John VIII or the "English Pope."
The methodology employed in this dissertation is that of archetypal psychology that gives primacy to the imagination and the exploration of cultural phenomena. One of the difficulties encountered in trying to expound on Pope Joan's mythology is that, for the most part, the extant story is very skeletal and includes the very briefest litany of "facts" or data. All we really can say with some certainty about Pope Joan is that she is imaginal, she does exist as myth. In addition, her myth abounds in the shadow side of religion and culture: its "fictions," art, and mysticism.
The image of Pope Joan as a female priestess remembers an earlier time when ancient pagan goddesses and secular priestesses and queens integrated their divine associations with mortal-like female sexuality and motherhood. The desire of this archetypal image to integrate both the female gender with the divine situates her among the ancient goddess archetypes. As such, she is symbolic of the feminine part of the Christian and patriarchal psyche that gets excluded, marginalized, and demonized. Unable to appear visibly in her feminine power of intellect and knowing, she appears as a man dressed in the papal robes of patriarchal power. As the manifestation of the suppressed feminine in the psyche, she metaphorically dies in order to be transformed. Her tale is an example of a myth that attempts to recover the feminine as a powerful archetypal presence.
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This text is an exercise in using Jung's definition of a symbol as the best possible explanation of something that can only be explained with analogies taken from our physical world. In it I discuss five prehistoric bell-shaped figurines not only as objects but as symbols that can be read as a written text.
They are spread out over a period of nearly four thousand years. The earliest one comes from the very beginning of the Copper Age in the second half of the fifth millennium, when the copper is being introduced and the person of the smith begins to change the old view of the world. Then I discuss two figurines from the Minoan civilization on Crete, one from its beginning and one from its end. The fifth figurine comes from the virtually unknown Urnfield culture in Europe, and the last one stands on the threshold to the Classical Greek world in the end of the eighth century BCE. Through their details they symbolize the unity that is transformed into diversity, in analogy to the fertilized egg that after the first seconds of immobility begins its transformation into the diversified cells that make the unity of the body.
The Bronze Age seems to have thought in symbols, as people not influenced by the Western culture still do. However, during the eighth century BCE in Greece, the society is changing. Architecture, urbanism, writing, colonization of foreign countries, and organized warfare begin changing the old world, and at the same time the images painted on the pottery begin to tell stories. However, although banished to the collective unconscious, the bell-shaped figurines do not disappear. They have survived to our modern time both as musical bells and in the architecture. The church-bells are still making music, and the church of Saint Peter in Rome, and the Capitol in Washington DC are only two examples of the architecture where the androgynous bell-shaped figure, symbol of transformation of unity into diversity, can still be seen.
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As the ecological, political, and cultural crises of the world become increasingly dire, basic assumptions that have effected such consequences must be questioned. The Western view of the world is far from the only one, but its characteristic drive to domination and assertion of hegemony bespeak an archetypal impulse within it. This dissertation argues that the rational logos —the West's predominant mode of reading and storying the world—carries this archetypal attitude that so significantly informs the framing of the Western worldview. The historical emergence and spread of the rational logos was concurrent with the rise of the archaic Greek polis, serving and being served by its novel forms of political and economic expression. This logos also found expression intellectually, when beliefs contained within the traditional mythic corpus were challenged by a new analytical attitude. This progression is typically heralded as the move from mythos to logos, as the light of heroic reason triumphant over the darkness of superstition and myth. However, the oppositionalism of logos to mythos is not only a false antimony but one manufactured by the Greeks, especially the philosophers. The privileging of logos as the legitimate mode of truthful discourse was a move made to subvert and replace the authority of traditional cultural narrative, a move made in complicity with alphabetic literacy with its biases toward literalism and singleness of meaning. The logos abets this either/or reductionism and institutionalizes a prejudice of privileging and subordination, a divide et impera methodology that promotes exclusion over inclusion, competition over cooperation. As an intellectual tool, the rational logos has bestowed many boons to Western and other cultures. This study aims to expose the baleful side of a one-sided worldview that archetypally prefers distance over intimacy, detachment over connection. Through the methods of phenomenological description and archetypal psychologizing, I elicit convergent evidence of the ethos, mythos, and telos —that is, the character, narrative presentation, and aim—of the rational logos. For all its claims as the legitimate arbiter of "reality," the logos remains a species of myth, a privileged myth, the myth we are largely living though.
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America is a country long haunted by its pseudoinnocence, by its blinding prolonged naiveté. We are a culture that closes our eyes to all that is too painful to see, persuading ourselves that we have escaped, that we are neither interdependent nor vulnerable, or that we are victims. We cannot come to terms with our own unwitting complicity in the destructiveness brought to ourselves or others. Capitalizing on such naiveté, we fail to see how such "innocence that cannot include the demonic becomes evil" (Rollo May 50).
This text specifically explores the psychological phenomenon of double-binds and their complicity in the formation and perpetuation of pseudoinnocence. Double-binds are those "damned if you do-damned if you don't" choices that have negative consequences either way, ones contingent upon deep underlying needs. It is my contention that double-binds are one of the causes of pseudoinnocence, that they formulate an arena in which innocence—violence—and all that is sacred in life collide. Collectively lacking the perception, language, and imagery to address such complexity, our culture remains stymied in its attempts to address our own participation in the conflagration of violence that encircles us today.
But how did this come to pass? How did we become a nation mired in childishness, mired in pseudoinnocence? Searching for answers through the roots of our Western civilization, I look for the seeds of pseudoinnocence in the foundational stories of our culture, in Greek mythology, and in the Hebrew Bible . I also look to the stories that we tell ourselves about our own initiations and our own loss of innocence. Using the lenses and language of hermeneutics, mythology, and depth psychology, I interweave current events, personal narratives, and sacred myths, exploring the formation and manifestation of pseudoinnocence, seeking ways to break free from its blinding grip.
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Frederich Schiller determined that an individual was not "fully a human being" without play; this dissertation is a treatise on the role of play in the quest for completeness or wholeness. Play becomes the tool for not only healing the fractured psyches of the postmodern age but also the fractured cultural stories or myths.
Play is as polysemous as the gods that populate the archetypal realm. The Notion of play sifted and shaped within these pages is frivolous and wise, childlike and earnest, free and restrained. It is, indeed, the tensional movement between these opposites, the play of paradox as distilled by Schiller and explicated by Drew Hyland's //responsive openness//, and found within the give and take of Hans Georg Gadamer's //leeway//. Play as movement, resonance, tolerance, the dance between the opposites, an embodiment of wholeness, an inherent aspect of being—that is the lens developed here through which I explore the mythos of capitalism within American culture. Play, or rather the Notion of play developed within this dissertation, becomes the hermeneutic for discovering soul within money and work, business and markets.
To uncover the archetypal forces within the dynamics of play and capitalism I call upon members of the ancient Greek pantheon but most importantly upon the stories: the ancient stories, certainly, but also the modern stories. A number of cultural and historic forces that influence the pursuit of capital within postmodern America such as the maximization of profits, productivity, and consumerism are examined. By allowing the interplay of certain elements of these driving principles with "other," I create a playground that challenges the "truth" of contemporary cultural myths. It is on this playground, embedded in aspects of ritual, nature, the liminal, and the feminine, that capitalism can be re-visioned and made whole, inclusive of social and natural values, and can participate within a new story that augments the one-sided myths of constant progress and profit maximization with the play of relational being. It is on this playground that capitalism is ensouled.
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The postmodern woman—intelligent, educated, and creative—continues to sacrifice herself, a response so organic that it appears to be a natural female gesture, an aspect of her indigenous being. It is also the unquestioned expectation of her family, her community and the larger culture around her.
Western culture tends to be unaware of the presence of annihilating structures and the ubiquitous presence of destructive value systems operating every moment of every day within the psyche of women, shaping their perceptions and their responses. Value systems arise, in part, from both the man's and the woman's biopsychic evolutionary history and the collective complexes that cluster around both the feminine and masculine archetype.
This work, hermeneutical in its approach, is interested in the universal forces at work in the female psyche and the structures of influence that contain the individual life; it will argue that while other time periods may look different from our current age, women, both past and future, struggle with the constraints of their humanity. This is Psyche's "burden."
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Humans have always wondered what survives the death of the body and how it makes the transition from this existence to the next. Imagined solutions have become embedded in many of the world's mythological tales, religious texts, and sacred narratives. Psychopomps, which act as escorts to the afterlife, appear repeatedly throughout these stories and are the focus of this exploration.
The idea of an eternal psyche or soul that can be guided at the time of death was once a common concept in the West. Rites of passage, including the Eleusinian Mysteries and the bedside reading of Ars Moriendi (Art of Dying) literature, assured people there was life after death and a guide would be there to assist them. Yet, a number of historical events created an atmosphere where death became such a taboo in the mid-twentieth century that even "terminally ill" patients were not told they were dying. The accompanying shift towards prolonging life at all costs created new fears and anxieties, and now leaves many underprepared to face their final journey.
Over the past few decades, many have worked to reverse this trend. At the same time, psychopomps have been reemerging in the collective imagination through such means as Jungian depth psychology, The Tibetan Book of the Dead, shamanism, near-death experiences, and the work of psychics, mediums, channelers, and other contemporary explorers.
To gain a better understanding of these compassionate guides, this work examines the archetypal attributes of the Greek god Hermes, as well as psychopomps from other cultures. These include Barnumbir, the Australian Morning Star; the Aurora Borealis of Labrador Eskimos; Anubis, Egypt's jackal-headed god; Daena, the Zoroastrian self-guide; the Valkeries of Northern Europe; the Japanese Bodhisattva Jizo; angelic beings including Islam's Azrail and the Christian Archangel Michael; and various animal guides.
I believe psychopomps are returning to our consciousness at this time to lead our multicultural and spiritually diverse society towards a better relationship with death. Consequently, I conclude with a discussion of the "mythological advantage" of sharing archetypal images and stories in an effort to expand such difficult discussions as the transition to the afterlife.
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In the beginning, communication was oral. Later, writing evolved, and punctuation was developed to bring structure to written text. When punctuation was invented, it stirred debates among scholars and priests who were transcribing biblical and historical texts. Some scholars maintained that it was the responsibility of the readers to punctuate the text according to their natural speech patterns, with an emphasis placed on how they would interpret and translate the meaning of the text. Other scholars left no room for interpretation or individual judgment; proper punctuation was objective, not subjective.
Both punctuation and grammar refine the way sentences are constructed. Traditionally, punctuation has been used as a grammatical tool to clarify sentence structure. Punctuation, however, also offers abundant possibilities for psychological and artistic interpretations that transcend semantics, and these interpretations offer a re-mythologizing of punctuation symbols as personal narrative. This production-style dissertation provides the context for the exploration of this concept. It explores the idea of creating a space for experiencing punctuation from both a psychological and artistic perspective, thus re-mythologizing punctuation symbols as personal narrative.
Drawing from the works of C. G. Jung and James Hillman, the theoretical component explores how the symbols of punctuation can be interpreted as archetypal patterns, and can represent certain states of mind that offer a doorway into self-awareness. The theoretical component is complemented by a production consisting of artistic representations of the symbols of punctuation marks. If people can experience punctuation in a personal, three-dimensional way—to grappling, playing, and having physical contact with these symbols—then perhaps it may lead to an awareness of how their own narrative is punctuated. The description of the art installation is interpreted through a phenomenological perspective of "play." The desired result is to re-mythologize the symbols of punctuation, both literarily and personally. The theoretical section considers the historical development of punctuation and describes the mythopoetic possibilities. The art installation offers a space where viewers can re-imagine their own story, playfully respond to the dimensionality of sculptural punctuation pieces, and consider a deeper meaning contained within the symbols.
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The Greek myth of Electra is about a teenage girl, Electra, devastated by the death of her father Agamemnon, whom her mother Clytemnestra murdered with her lover Aegisthus' help. Unable to stop mourning for her father and hating her mother and Aegisthus, Electra joins with her brother Orestes and kills them.
Beginning with Sigmund Freud and continuing with Carl Jung and many others, modern psychology has relied upon Greek mythology to provide insight into psychological processes. Jung was the first to invoke the Greek myth of Electra, when he coined the phrase the "Electra complex" to describe how Freud's theory of the oedipal complex applied to women. However, Jung never offered an in-depth interpretation of the Electra myth based upon his own psychological theories, nor have his followers, despite its richness and relevance to modern women.
This study reflects an initial attempt to look at the Electra myth from a Jungian perspective to see how it might elucidate the psychology of modern women who live out various aspects of this myth. Using a composite mythological profile of Electra based upon the three Greek tragedies in which she appears, it considers how the mother and father archetypes constellated in Electra and how they led to her developing a positive father complex, coupled with a negative mother complex. Finding that Electra's emeshment in these parental complexes kept her trapped in adolescence, it also addresses Electra as representing a puella aeterna, or eternal girl, identified with the god, Saturn. It goes on to consider Electra in terms of her shadow and animus, two important constructs in the Jungian process of individuation.
This study also offers a psychological profile of modern Electras, those young girls and women today who live out various aspects of the Electra myth. It suggests several ways in which modern Electras might deepen their understanding of this myth from a Jungian perspective. It explores the need for modern Electras to withdraw their projections of the positive father archetype from men and to connect to their own positive masculine energy. It addresses the importance of confronting the negative mother archetype and connecting to the archetype of the positive mother.
In addition, this study uses the life and work of the modern American poet, Sylvia Plath, to illustrate how the Electra myth may appear in a woman today. It concludes by suggesting how the Electra myth may be carried forward using principles from the post-Jungian school of archetypal psychology, as reflected in the work of James Hillman.
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This hermeneutical study looks at the function of story by focusing on three Grimms' fairy tales and assessing their moral and social content. An in-depth analysis of "The Jew In The Thorns," "The Good Bargain," and "The Sun Will Bring It to Light" is undertaken to identify political and social agendas that marginalize or dehumanize some people as "others." Bias through religious and secular means is explored, using historical, psychological, and literary sources. Grimms' story content reveals values that favor poverty over wealth, peasants over "outsiders," and rewards through violence. Such values are viewed in relationship to Jacob and Wilhelm Grimms' idealization of medieval sources, anti-Semitism, and as a precursor to Nazi ideology.
The political use of story is best illustrated by the appropriation of folk tales by National Socialists for educational indoctrination during the 1930s and 1940s, seriously compromising the integrity of German folklore studies and professors. Psychologically, the collective shadow of Germany is addressed, as well as the use of good and evil in fairy tales and consequent effect on children.
Should we censor or ban stories that are "objectionable" through biased depiction of the "other?" I propose that a re-imagining of Grimms' fairy tales calls for new strategies to teach children critical thinking, how to challenge stereotypes, and create new stories through drama, art, and writing. Inherent in this dissertation is the assumption that each generation has the right and responsibility to re-imagine stories to reflect more humane values.
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This study juxtaposes an imaginal inquiry into the myth of Orpheus and Eurydice with a historical exegesis of the ancient religious movement generally termed Orphism, which came to be associated with it. Inviting unconscious elements into the study of myth and subsequently elaborating a theoretical analysis as well as a creative project—as this study does in the form of a screenplay adaptation—corresponds to Carl Jung's theory of the transcendent function, which states that a new level of being is possible by balancing these two approaches to such material. This study unfolds the myth's latent theology by dreaming it forward in this way.
The principal thesis—that Orpheus looks back to Eurydice with purpose and an awareness that his gaze will cause her to return to Hades—is itself an example of unconscious material emerging into consciousness. The greater part of this study is devoted to deriving meaning from the twist that this re-imagining implies for the elucidation of myth in general and for the study of this myth in particular.
A principle question addressed is "What aspects of the latent theology found to exist in this myth can be said to constitute a founder story of Orphism?" In addition, this study proposes the figure of Orpheus as emblematic of the active masculine principle—exalted in his balancing of solar and lunar masculinity—that provides a blueprint for a dualistic cognitive model of archetypal experience.
This model posits that the dualities found in the myth, and sometimes in life, derive their patterning from the individual's inability to experience the archetype directly. Orpheus' look back exemplifies a breaching of the veil that separates us from the archetype, allowing a momentary interpenetration of the individual's sphere of consciousness with the essence of the archetype. It is thought that integration of unconscious and conscious material follows. Finally, how these insights can be applied to the lives of men and women is addressed in this study's conclusion.
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"Re-Imagining the Elements: Ensouling the World" addresses the probability for environmental sustainability in a play entitled "Carnal Gnosis." The play reflects the interpenetration of spirit and matter, the complete unity in Eros, ancient sacred things, and creative re-visioning of soul in matter.
Oriental mythemes are employed and archetypal psychology's poetic basis provides the method to receive a message for the millennium from the ancients and ancestors.
"Carnal Gnosis" attempts, with masks, costumes, choreography, and narrative, to blur the distinction between self and world suggesting that the Elements themselves are engaged in the work of increasing consciousness on this amazing planet.
"Carnal Gnosis" seeks to lift the idea of the Bodhisattva Vow from a purely theological context into a greater context of mythological consciousness. From a depth psychological perspective the Bodhisattva Vow is constellated in compensation to the extreme view of the "Four Noble Truths" of Buddhism. Kuan Yin, the embodiment of the vow acts as the transcendent function between the personal and transpersonal, and between spirit and matter.
"Carnal Gnosis" sees those committed to awakening as being engaged in "deep play." The personal self considers such a commitment as to be irrational to play. The ancient self chooses to play, repeatedly taking on disease, old age, and death to engage in the great game devoted to increasing consciousness in a world of darkness.
The problem of environmental degradation cannot be solved from the same consciousness wherein it has been created. The "religious function of the psyche" has been appropriated by sensationalism and consumerism reflecting the "aweless" state of humans before nature. Together with human hubris and egoism we have come to our present eco-state.
The mythopoesis of "Carnal Gnosis" suggests a leap to another probability, that we are being spoken to in our pathologies. Acknowledgment of the many within over whom the ego has become tyrannical, can free those "others within" who can assist us. Then we can listen to the "others" out in the world, not only individuals, but other species and things of the world for the re-imaging and transformation of intent that will support environmental sustainability.
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This study explores sailing as a metaphor for freedom and autonomy and acknowledges women sailors, particularly women solo sailors, as a new variation of the female hero of myth. The author examined articles, memoirs, and histories of expert women sailors who hold records as the first women to cross oceans. Ellen MacArthur, who holds the record for the fastest woman sailor to circumnavigate the globe, and the first all-women team to race in the America's Cup are also discussed. These and other women sailors, including pirates, have sailed alongside men for centuries. This study examines the patriarchal assumptions that have hidden these stories. I challenge the premise that women solo sailors are somehow not "relational," and therefore, not authentically feminine. The relegation of women to the sphere of personal relationships is limiting because women have other modes of being that are not contaminated by the patriarchal gender system. This study argues for a new understanding of the feminine, one inspired by the Greek goddess Artemis, who most profoundly exemplifies the skillful, independent, and adventuresome spirit of women sailors. The argument is developed through analysis of feminist studies, literature, and myth. The author examined literature and myth that illumines the power the call of the sea has for many human beings. The author emphasizes the importance of myths about divine females for understanding female power, particularly those about the Greek goddess Artemis who, like the solo sailor, desires freedom, autonomy, and solitude. Just as Artemis rebels against the norm as a Greek deity, so does the solo sailor rebel against social conformity. These mythic images validate the strengths and abilities of women sailors. This dissertation closely examines the attempts by Carol Pearson, Katherine Pope, Kathleen Noble, and Maureen Murdock to distinguish the characteristics of male and female heroism. Their analyses view the female heroic journey as a psychological inward one. This study of women sailors re-imagines the archetypal female hero as active, adventuresome, and independent, qualities mirrored in the power and independence of the Greek goddess Artemis.
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The principal concern of this dissertation is recognition of the influences that create, nurture and sustain the climate of work, for where material emphases and career opportunities converge the courage to authenticate is often found. This dissertation offers a method to re-imagine work and psyche symbolically through archetypal encounter. It is based upon the premise that before we can love another, before we can find our place in the world, we must discover, know and love the self. The approach developed herein is called Archetypography .
Parents, school systems and cultures steeped in growth and material prosperity encourage people to invest in educational and career paths that are often guided more by reward and achievement than by authentication of the person. These influences have evolved to become a system that is impossible to sustain because it is rooted in fear for one's survival, distrust of the self, and a philosophy of engagement dependent upon an endless supply of physical resources, domination of nature, and identity through material consumption.
Two common attributes characterize the prevalent psychological and career guidance instruments. First, they are language based and secondly, they are aimed to evince specificity by being referenced to values and conditions that are externalized in culture. Moreover, each suffers from profound distrust of the self, change and ambiguity. Archetypography shows how shapes articulate the psyche in work, time and home—three crucial contexts for self-expression that against the backdrop of material consumption evoke the questions, " who is speaking? What is being said? "
Re-Imagining Work begins with the five symbolic shapes used by Dr. Angeles Arrien, (circle, square, triangle, cross, and spiral) and adds two to make an arrangement of seven symbols. The triangle points upwards and downwards to express the axis of identity, and the equal sign contrasts with the cross to express relation. These seven symbols form the expressions of our psychic house and architecture. However, more than a way to re-imagine the polyvalence of the psyche and livelihood, Archetypography represents a new theology of work and self-expression. It is a way to conceive work fulfilling archetypal expression. For "right livelihood," a Buddhist principle, occurs when both are called forth so that individual and collective conjoin in mutual benefit. Beyond metaphors, symbols and processes, Re-Imagining Work invites developing a relentless passion to love what we do, to pursue mystery, to trust change and ambiguity, and to awaken the archetypes that are calling the character of our own being.
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The nurse is central to healthcare and has always been the most prominent figure in times of vulnerability throughout the life cycle. This dissertation attempts to recover the complexity and wholeness of the nurse by tracing her origins as far back as Neolithic times. Ancient mythology, folklore, literature, art, and popular culture are explored to reveal the multifaceted characteristics of the nurse. Specific images are expanded to deepen understanding of the nurse archetype. The nurse image holds longing, ambivalence, fear, desire, and vulnerability. Mythology, metaphor, and symbol are drawn upon to recover the soul of the nurse, revealing new insights, forgotten memories, and devalued capacities. Idealizing or demonizing the nurse is an attempt to break free of her power. The nurse is often portrayed as dangerous and mysterious because she is so close to the archetypal energies of death and eros. The nurse's body cares for the bodies of others. Nurses are drawn to work that is messy, peculiar, and unpredictable, thus the work of the nurse is soul work. The soul longs for complexity. The nurse craves intensity, merging, and collaboration. Like Baubo, she affirms life while maintaining an understanding of the brutal frankness and wonder of the life cycle. Her true body consciousness is Dionysian. Over time the image of the nurse has been split into one-dimensional disguises ranging from the angelic heroine to the sex object. Without moralizing or dividing the good from the bad, the author—a nurse—investigates the dynamic energy of the nurse archetype and discusses what has been lost through splits, repressions, and distortions. This study reveals why the nurse captivates culture and maintains the status as the most trusted professional in society, questioning what it would take to re-member her comprehensive wholeness.
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The tradition of writing, drawing, and inscribing on public and private surfaces persists historically from the painted and inscribed images on natural subterranean walls in the Upper Paleolithic era to the vivid and inventive writings on manufactured hard scapes in present-day cities around the globe. These illustrations differ in time—ancient and modern, in landscape—natural and urban, and in acceptance—respected and maligned; nevertheless, mark-making endures as a universal pattern in the human psyche that is recognizable in diverging patterns in all cultures.
These archetypal motifs emerge in the arts, rituals, dreams, and mythologies as imaginative phenomena independent of the subjectivity of the scientific and historical world of logical reasoning. Undertaking an archetypal examination of graffiti shifts the literal thinking about contemporary markings as illegal and unwanted defacement to enter the realm of the mythical and metaphorical that respects expressions of creative discovery and imagination. Graffiti function as an empowering vehicle for personal and social expression at the same time they upset traditional cultural categories by simultaneously being venerated and respected as art and outlawed and denigrated as crime.
In contemporary discourse, individuals and social groups polarize between narratives of graffiti as marks of cultural expression and art on one hand, and destroyers of property and civic order on the other. Rather than scrutinize and focus on the illegality and vandalism that articulates contemporary graffitist's violations against public and private property, this inquiry intends to disentangle what amounts to a current criminal narrative that plagues graffiti in order to weigh and evaluate the transgressive social actions that unsettle fixed binaryisms in relation to art, language, and ritual.
This study utilizes an interdisciplinary method that re-imagines and de-literalizes the mythology of polar oppositions and differences that weave within graffiti's paradoxical context in a variety of disciplines. Furthermore, it examines the problematical and relational hierarchy of dual oppositions. Transgressing boundaries, as well as opening up the structured to anti-structure, the novel markings illustrate the individual will that affirms itself without the need for authorization or acceptance. Graffiti is memory marking that transgresses conventions to allow psyche another illustration.
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James Hillman wrote //Re-Visioning Psychology// (1975) with the intention of shifting the "monomania or monotheism of Self' that dominated psychological thought during the decades of the 1960s and 1970s (xiii). Hillman's new vision for psychology was based upon the mythological and depth psychological perspective. Over three decades later, a similar monism has beset public education in the United States. As //No Child Left Behind// (NCLB) clearly illustrates, the American public education system is singularly governed by a standardized, intellectual mimesis. Following Hillman, this dissertation endeavors to re-vision American education using the mythological and depth psychological perspective.
This dissertation is not a linear argument supporting one central thesis, but a thematic collection of papers examining qualitative aspects of the American education system from the viewpoint of the humanities. Education is envisioned as mythic, using Joseph Campbell's four functions of myth to consider the implicit assumptions and sensibilities imparted through collateral learning. Applying Hillman's ideas of psychologizing and pathologizing, the historical trajectory of the American education system is seen as an entrainment with a mythic archetype, and attention deficit hyperactivity disorder (ADHD) is viewed as a symptomatic expression of a repressed archetypal energy. School violence, disruptive classroom behavior, and reality formation are perceived mythically, identifying both the archetypal resemblances and the mythic dynamics within each to offer American education a new approach to these educational occurrences.
This dissertation utilizes the mythological and depth psychological perspective to: envision NCLB as a misguided application of the sacred American narrative; see the archetypal Apollo as the monotheistic perspective underlying the intellectual mimesis of American education; view ADHD as a symptomatic, soul-full expression of the repressed archetypal Dionysus; and perceive the archetypal images of Ares, Poseidon, Persephone, and Zeus as a suggestion for a more pluralistic pedagogy that encourages individualistic creativity and personal growth through mentor-like relationships. This dissertation, however, is not meant to prescribe definitive answers but to offer American education a different perspective. The hope is to initiate poesis and to help re-vision American education anew.
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Western Christianity today seems caught between a scientistic perspective insisting on empirical verification of truth and a literalistic faith hardened into a clearly defined and manageable representation of the divine. But the core experiences of the holy on which Christianity rests are mythic elements—-vital, fluid, and ambiguous pointers toward mystery penetrating human life. This dissertation identifies and describes three basic shifts in perspective opening a way through the impasse between empiricism and literalism. However, a direct route toward mythic re-visioning is blocked by a set of assumptions implicit in contemporary Western culture. Those assumptions arise with the philosophies supporting science and now postmodern deconstruction, resting in a hermeneutic of suspicion that renders both theology and mythology irrelevant, unless credible alternatives present parallel values.
The hypothesis of this dissertation is that a composite lens, created through the layering of three basic shifts in perspective, does enable a credible mythic re-visioning of Western Christianity. The three lens shifts are the imagination, a feminist vision, and the phenomenological hermeneutics of Paul Ricoeur. Imagination is explored through philosophy and psychology, emphasizing C. G. Jung's active imagination and James Hillman's soul archetypes. Sufi thought offers a religious perspective about the imaginal, suggesting the primary role of the imagination in religious experience. A feminist vision explores images of God and their effects, the search for a usable and accurate past, and the paradigm shift necessary to experience the new metaphysical assumptions and models of God of contemporary feminist theologians. The phenomenological hermeneutics of Paul Ricoeur provides a new foundation for a reconstructive postmodern philosophy. Ricoeur's dialectical method obviates the need to choose between polarities and sees postmodern complexity as a multifaceted and dynamic web of life. Seen through the composite lens of imagination, feminism, and phenomenological hermeneutics, a mythic re-visioning of Christianity reveals its expansive capacity for a new epic cosmopoesis.
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The focus of this study is to present an anthology of representation and seeing through the metaphor of the post card. Cards "float," first, as representations on a rack waiting to be chosen; then, once selected, the individual card is personalized with an inscription, a particular message intended for a particular receiver. In the process of mailing; "posting," the card, the image, and the message disappear, but the thread of memory holds them in their transport from one hand to another, like a carrier pigeon, and prevents the severance of the "thread" of imagined connection. The thread of encrypted memory is the ordering principle, the structure of the "unpresented" post card, which, as "agent" of mnemonic invention, observes the world in one place and transports it to another, with the trace of the sender inscribed on its surface. But embedded within that mirroring, surface message, and the chosen image, may be multiple layers of inner and outer "quotations" of reflection and speculation.
Jacques Derrida insists that the post card never "arrives" at its destination, since it is always subject to further interpretation. Deconstruction, which grew out of the literary movement of New Criticism, reinforces the concept of open-ended, "gappiness," holding that in every text there is a doubling of meaning and intention. In the post card's hinged double-sidedness, its dialectic of image and text, and its requirement of memory as a necessity to its interpretation, it represents the "mirror-text," known as mise en abyme , which, in turn, represents a mythology of speculation.
This summary of the concepts centering around the phenomenon of representation and perception, draws on numerous sources from philosophy, art, architecture, theatre, literature, history, literary criticism and theory, psychology, and mythology. The accompanying exhibition of images and text extends the process of the artist and observer jointly participating in the "making" of a work of art through the imaginations "re-presentation" of the "unpresented," which leads to the continual process of making Worldview and Worldmaking .
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James Hillman is outspoken about the necessary convergence of community, world and soul. He reminds us that the word, conscious used to mean "knowing together," but our "collective tendencies" have been eclipsed by a culture that emphasizes individuality and "analytical consciousness" ( Myth of Analysis 295-296). This production-style dissertation created a context for exploring life storytelling as it relates to the meaningful connection between self and community. Although self-discovery was part of the work, emphasis was placed on the relational and public nature of story. Individual insight and growth were valued, but not at the expense of the consciousness taking hold in the group. Jack Douglas' guidelines on creative interviewing, Victor Turner's observations on secular ritual and communitas , and Robert Romanyshn's work on research methodology and complex knowing formed the foundation for the process. Its form emerged from four ideas. (1) Stories are told within a context of relationship. (2) Telling life stories is a form of memorial but also plays a significant role in identity and shaping attitudes toward the present and the future. (3) Narratives go beyond text to encompass a broader spectrum of ways in which life experience is represented. (4) By accepting information from nontextual sources with a receptive attitude, information of which we were previously unaware can be accessed. Ten women over the age of forty experimented with community and life storytelling through making art. The women were interviewed before and after the process. A twenty-two-minute DVD was created from the material. The relationship that Turner characterizes as communitas, a sincere desire to relate "person to person" and hold for the group experiences that are commonly shared, was achieved (Alexander 36). Those who participated spoke of the power of active listening. As Victor Turner points out, communitas is spontaneous and difficult to maintain; we necessarily move between our structured environments and states of liminality ( Dramas, Fields, Metaphors 288-294). This study illustrates the importance of communitas for personal discovery.
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This dissertation traces a journey through Cartesian and phenomenological philosophy, depth psychology, and the Greek myth of Ariadne and Theseus. As though inside a multicursal labyrinth, the work follows a particular trajectory in Western thought that is rooted in ancient myth, emerged as philosophy in the sixth century BCE, and came to dominate Western culture through Cartesian philosophy from the seventeenth to the twentieth centuries.
Whereas Cartesianism established the mind in opposition to the body and the world, phenomenology, which emerged from Cartesianism in the twentieth century, collapses Cartesian duality and radically revises Cartesian notions of reality, the body, and the world. By re-defining transcendence not as meaning beyond the world, but as meaning of the world, and by redefining the cogito not as disembodied consciousness, but as consciousness characteristic of and belonging to the world's body, phenomenology represents the mind of the West returning to the body and the world from which it emerged and which it abandoned at the beginning of Western culture.
The myth of Ariadne and Theseus provides evocative images from the beginning of the Western cultural story that are revelatory for where we are today and that provide a way to imagine a future beyond Cartesian duality. Following the path of depth psychology's return to myth and image, and guided by the thread of Maurice Merleau-Ponty's phenomenology, this dissertation returns to the mythic labyrinth and discovers in the image of the Minotaur the denied body as a denial of death at the center of the Western cultural labyrinth. It imagines consciousness of the paradoxical unity of death and life as nurturing a re-birth of mind and consciousness into the flesh of the world.
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This hermeneutical study accompanied by a screenplay adaptation of the myth of Persephone and the Eleusinian Mysteries explores how certain archetypal relationships are alive today. The screenplay, accompanied by a musical soundtrack which underscores archetypal meaning, focuses on marriage as an initiation. Since in the classical versions of the myth Persephone does not have a voice in the deal made which splits her time between Hades' and Demeter's realms, this screenplay is written from her point of view.
The scope of this study revolves around Persephone's relationship to Hades rather than the mother/daughter relationship, the meaning of the sacred drama of Eleusis as a transformative experience, and the healing potential of the myth of renewal for the modern psyche.
Through the perspectives of mythological studies, depth psychology, Jungian concepts, archaeology, imaginal knowledge, and alchemy, this study explores the phenomenon of being lived by a myth. The research makes a comparative analysis of various mythemes in Persephone's story to other mythical figures including Inanna, Isis, Ariadne, the Well Maidens, Brunhilde, and Hermes. Tracing the Eleusinian rituals back to Crete and Egypt, attention is given to the return of the eternal feminine, redeeming the Hades mirror through divine love and guidance.
Themes explored are the kore (maiden, kernal, pupil of the eye), nekyia (underworld journey), othos (longing and memory), kairos (loaded time), enantiodromia (the turn-around), coniunctio (union of opposites), and the hieros gamos (alchemical sacred marriage).
Voice is given to whether Persephone's pull to the underworld was an abduction, a decision on a deep soul level, or both. Using the myth's symbology of poppies and pomegranates, a central point is to describe the underworld labyrinth as a mirror inversion of everyday life.
Relationships have become the new mystery school initiations, holding up a mirror to the inexperienced part of us that needs to be transformed as we move into a new realm of male-female partnership. Both principles unite to create the divine child, representing future potential. The conclusion addresses the necessity of making myths for the future, implying a paradigm that includes shared power and a new way of seeing.
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Human beings are ritual-making and ritualizing creatures, who have at their disposal various modes of ritual expression. These modes or layers of symbolic expression help to bring order and direction to people's lives especially in times of transition and turmoil. This dissertation focuses on rituals as an important means of personal and social transformation.
Ritualizing behaviors create order in a chaotic world, while routines are established procedures that bestow internal comfort on the practitioner. In popular culture, these forms of human expression are often confused and misnamed.
My central argument is that authentic rituals can give people a sense of personal power, meaning, and direction. Without adequate ritual expression individuals can lose meaningful opportunities for transformation. Unless the shadow material of human beings is consciously integrated in some form or another, it will create an unconscious parallel ritual system as a means of self or communal expression.
The essential elements of transformative ritual are: liminal space/time, focused attention, an embodied action, the incorporation of the human shadow, the use of key multivocal symbols, and performative words within a witnessing community.
In my research I used clinical illustrations and examples, as well as stories and autobiographical material which served to ground the text in contemporary reality.
Authentic ritual is transformative, symbolically linking body and soul in an experiential way of knowing. Ritual bridges the imaginal realm with literal reality through the effective use of multivocal symbols. This embodied form of expression is imaginal play with life-enhancing effects.
Cosmologically, rituals can offer a clearer connection with the universe and give meaning to one's life. Anthropologically and sociologically, rituals support communal relationships and social coherence. Psychologically, rituals serve to offer an inner cohesion and expression of an internal dynamic. Therapeutically, rituals can be healing and reconciling aspects of individual and communal nurture. Finally, rituals can offer the possibility of broadening one's spiritual understanding and relationship to the divine.
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The stories surrounding the woman whom legend names as the wife of the Hebrew Patriarch Abraham and the mother of God's Chosen People are here re-examined and explored with the intent of gaining insight into how her stories, as interpreted and promulgated by a patriarchal society, have directly affected Western culture's attitude towards women, not only in the past but also up to the present day.
Several different post-modern techniques are used to assess how and in what manner and to what degree Sarah's myth has subtly—-and sometimes not so subtly—influenced our view of what it is to be a wife. An analogical approach is employed to encapsulate in iconic form the concept of a perfect wife, thus precipitating the image of Sarah as model.
The legend of Sarah is explored through Hebrew, Christian, and Islamic sacred scriptures, Jewish Midrashim, Near-Eastern and Egyptian texts, and other ancient historical accounts. The exploration proceeds through history, extracting accounts of the continuation of the Sarah myth from the Kabbalah of the Middle Ages, and traces the legend's effect on the treatment of women from ancient times and into the emergence of feminist consciousness during the Nineteenth and Twentieth Centuries. This dissertation does not claim that the sole reason for the subjugation of women throughout history is due only to the effect of the Sarah myth or other biblical tales; however, it is difficult not to recognize the subtle impact Sarah's oft-told tale has had on the development of Western laws affecting marriage, civil rights, and property rights, as well as society's on-going attitudes and behaviors towards women.
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Approximately two million people suffer from the devastating mental illness of schizophrenia. Most of our general population ignore or fear this disease. The diagnosis of my daughter with schizophrenia was my initiation into the world of those who suffer with mental illness and their families. A seemingly impenetrable wall of denial, fear, and hopelessness suddenly threatened archetypal expectations of the mother-daughter relationship.
The writings of Carl Gustav Jung stirred my psyche and launched me on an inner journey in search of healing. Living in a narrow world of his own speculations, Jung once asked himself: "What is the myth you are living?" I asked myself the same question. Neither Jung nor I had answers to our questions. Thus, the primary motive of this dissertation is one of exposing and articulating the intrinsic value of recognizing and finding the language for one's personal mythology . These pages describe this journey that winds its way through the labyrinth of psyche—the birthplace of myth.
Objective data was gleaned from several editions of the //Diagnostic and Statistical Manual for Mental Disorders//, psychiatric journals, documentaries, and mental health organizations. Subjective information evolved from the personal and cultural history gleaned from family pathology, patients, affected families, and support groups. My daughter was an indispensable source, allowing me to explore her psyche via her writings, artwork, and a collection of letters that I had written to her from her birth to her eighteenth birthday. World mythology, classic literature, emotional poetry, and passionate song provided the exoteric language.
Modern society is designed to eliminate as many unforeseen events as possible. This leaves us underutilized. Actually, the unexpected circumstances that arise in our lives can have the power to ameliorate our passive attitudes. The unexpected painful events of life cannot be changed, but one can change what they mean. This kind of alteration calls for new interpretations and revisions of the myths we live. The ultimate result of recognizing and cultivating one's personal mythology is to discover the root causes of personal difficulties and then take the responsibility for one's psychological health and development. This dissertation records just such a journey.
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The search for answers to gain insights into the nature of reality is the focus of this two-part study. Monism—any theory that makes statements about the oneness or unity of reality, or that reduces phenomena to a single principle—has long been a tenet of Eastern philosophy. In the West, which is pervasively dominated by dualistic theory, some of the giants of Western philosophy and the new breed of scientists studying unseen phenomena argue for the threads of monism.
Part 1 of this dissertation explores these threads from a theoretical perspective beginning with the pre-Socratics. As theories of monism evolved over the centuries, so did the concepts which eventually led to the world of modern science, psychology, principles of uncertainty, and quantum physics. The result of this exploration reveals a radically and rapidly changing worldview of man's evolving theories of how reality is created.
Part 2, the creative portion of this dissertation, continues the search for answers as I struggle to understand my experiences of the oneness or unity of reality within a dualistic framework. Contrasting the Native American with the non-Native perspectives of reality highlights this struggle. My personal process of discovering how I create my reality was the result of a synthesis of my intuition and experience with the new philosophical and scientific ideas expressed in Part 1.
The conclusion of this two-part study suggests a higher consciousness of linked knowledge between philosophy, science and religion to understand the rapidly changing worldview of reality. This new awareness creates possibilities which empower each of us to expand the knowledge of an underlying reality from which the multifaceted results of creation emerge. In his final years, Joseph Campbell sought this point of wisdom because he believed the new discoveries of science rejoin us to the ancients, enabling us to recognize in this universe a reflection magnified of our own most inward nature and ultimately the nature of reality.
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This study addresses the problem of violence within our modern culture, and searches through history for the origins and roots of that violence, particularly as they appear within the mythology that is manifested in the fundamentalist Christian belief system prevalent in the Southern United States.
Of particular interest to this inquiry are the attitudes throughout Judeo-Christian history toward women and children that foster such violence. By reviewing the hunting and gathering cultures and their transition to herding cultures, Southern culture is established as an example of the "Culture of Honor" that is common to herding societies.
The journey continues through the eras of the Old and New Testaments, the periods of the Inquisition and the Reformation, and culminates in the contemporary rhetoric of the Religious Right. The underlying mythology and its results are explored regarding the role of women, the disciplining of children, and the God-given dominion of the men who head households.
The shadow of violence that is contained within the rigid doctrine of fundamentalist Christianity finds a particularly virulent home in the gun-toting patriarchal Southland, and when the two philosophies converge, the probability of violence surpasses that of all other areas of the United States.
As the debate rages over the posting of the Ten Commandments in schools and the re-introduction of The Lord's Prayer into the daily classroom regimen, we as citizens are compelled to recognize the violent tendencies within the Christian dogma and practice that undergirds our culture. This study provides both an historical review and a contemporary overview of essential tenets held within the conservative Christian movement as it strives to obtain a more dominant role in the current social and political life of U.S. culture.
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Shelleys' Sibliography 1 documents a heuristic journey toward releasing the incarcerated voice. Memory ignites an inner call to reconnect with an imprisoned brother. This dissertation supports the need to give an empathetic response to an embodied lived experience, and to validate a particular embodied desire to pursue voice. Shelleys' Sibliography undertakes voice by separating her seventeen childhood sibling stories from each other. The Sibliography shows that sharing sibling memories, dreams, and dialogue can achieve voice.
The Sibliography opens a space for a surprise voice—desire. A sister and brother share their memories as keys that will unlock the flow of voice, by putting the sibling memories into motion, giving the incarcerated brother space to reconnect, to reclaim, and to reimagine desire. This desire stirs up memory that penetrates hidden silences and evokes feelings. The feelings shape the seventeen narratives into form, affirming difference and releasing unexpressed boundaries. The imagination bears the weight of the blocked voice, the imagination holds the pain of incarceration, then the imagination blurs those very boundaries and releases the incarcerated voice.
Voice erupts out of a living correspondence rooted in memory, dream, and dialogue between sister and brother. This exchange of letters gathers together dreams and sibling flashbacks while documenting an imprisoned life. The hunt for voice as oral history generates the first-person narratives. The narratives evoke dreams that are put back into play, piercing the middle realm where "healing of the imaginal body," happens. Shelleys' Sibliography supports an unconditional eros that arouses a hidden desire for communion. What begins as a need for separation, in turn, returns as a need for recognition of fusion that supports the roots of interiority— a voice heard . The imagination works in the exercise of releasing sublated voice when another hears it.
The story does not end between the sibling dyad. Shelleys' Sibliography through shared memory, imagination, and dialogue, leads to reconnections and freedom—a freedom that once rooted takes form in the next generation's enunciation and expression of selfhood.
1 From Shelley's symbiotic position, the plural possessive form is correct. I am all the sibling voices.
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This dissertation argues that the key to the musical nature of myth is found in human biology and the primordial elements of the universe. That atomic tones and harmonic frequencies singing within the atom, vibrating throughout the universe, enfolded all primordial contingencies, processes, and phenomena. Saturating human beings with harmonic vibrations, these tones became the panpsychic structures that patterned human perception and human participation within their environments. Over time, mythopoetic expression emerged from a tonal, musical patterning and perception indigenous to the human body and psyche.
Exploration into the sung etymology of mythic expression is tracked and traced through nonhuman creatures and landscapes, and through descriptions of reality encountered in modern physics, biology, and indigenous perspectives.
Additionally, the language of mythopoetic expression, a language this thesis argues which was more like singing than speaking, is concatenated to the primacy that the human ear imparted to human perception and storytelling. This thesis supports the notion that humans became musicians and thinkers simultaneously.
Lastly, this thesis argues that there are benefits for depth psychological therapies in expanding the prevailing privileging of the visual image to reincorporate and resound the acoustical image, found in its perceived taproot in shamanism.
As a final note , this thesis supports James Hillman's notion that any explanation is infused with an unavoidable ambiance of fiction and myth. With that in mind, //Singing: Soul's Mythic Mirror// is itself a myth of singing.
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Pacifica Graduate Institute
Mythological Studies Dissertations
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The significant challenge of the twenty-first century is for humans to establish an intention of engaging nature in a relationship of mutuality. As the wounding of nature proliferates and the severity of the wounds increase, humans may recognize that the wounds of nature are simultaneously inflicted on the self. This understanding has the potential to change the way of being in the world. This study explores how sound opens the conscious mind to an engagement with nature. It is an engagement of mutuality where one not only speaks but listens. In //The Structure and Dynamics of the Psyche//, Jung writes, "... we need a method of inquiry which imposes the fewest possible conditions, or if possible no conditions at all, and then leave Nature to answer out of her fullness" (CW 8: 864). This study uses a theoretical method of inquiry to examine evidence of the power of sound to engage nature in the mythologies of Hinduism, mystical Islam, depth psychology, and modern science.
The context in which the relationship with nature is described is diverse and depends on the culture and the uniqueness of the individual. However, underneath the surface description sound and its precursor vibration appear. Sound manifests in the context of its attributes of tone and timbre, and its extensions of rhythm and harmony. Sound then returns to the unitary reality of vibration resonating //within// and //without// the body. This experience awakens the potential for a higher order of union with the //unus mundus// or nature.
In modern Western societies, where story has replaced myth, mythologies no longer exist in a vibrant unifying form. In this circumstance story has replaced myth. Story often behaves as myth and has the potential to lead the way to a mythology that encompasses a personal relationship with nature. For stories to perform this mythological role, they need to reflect a mythological core. Nature is waiting to serve as this core. The ineffable quality of nature lends itself to a host of entry points to a relationship. Rather than a monolithic strategy, each individual is invited to follow his or her own unique path to a relationship.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=1483474351&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
<<<
Writing personal story is a commitment to the ancient art of tracing, gathering, and articulating all that it has taken to get to a place of soul, that place of instinctual and imaginal knowing. What happens when a woman sets out to write her own story? This dissertation reveals how story connects a woman to her unique identity and her destiny. Viewing the research material through imaginal and archetypal lenses, this study approaches the question of what happens to the individual and to the culture at large when a woman begins to tell her own version of living a woman's life.
The feminist movement offers various assertions and theories regarding what needs to occur within the culture to ensure the continual unfolding of the feminine psyche. After spending a number of years studying these assertions while working on my own personal process, however, I have found that many women from ordinary walks of life feel that they have come up short in their personal development and in their participation in the feminist movement. Even if they have achieved successful personal lives and careers, some women seem perpetually stuck out on the edge of becoming—always striving, but making what appears to be so little progress in comparison to others. They wonder if the person they have become truly defines them. This dissertation addresses, from the perspectives of mythology and depth psychology, the question that continues to be proposed by feminists: What might each individual do to bring about the further unfolding of the feminine psyche?
Epic narrative further illuminates this quandary. Close inspection of Toni Morrison's Beloved reveals a narrative plot that is mimetic of some women's plight in the American culture. Like Sethe, the female slave in Beloved, some women have been prevented from active participation in their own freedom and hindered in their personal development by an unsuspected and devouring psychic force that has detained them. My research suggests that they have been prevented from participating in their own emancipation by a haunting memory—the ghost of the unmourned memory of their once-enslaved feminine psyche.
Fairy tales offer a safe way to playfully remember a haunting past, as they allow for a unique distancing from one's wounds through mythic language. The production portion of this dissertation is a fairy tale. My intention in writing the tale is to honor the grievous efforts encompassing many women's rite of passage and journey towards self-discovery.
<<<
([[ProQuest Link|http://pgi.idm.oclc.org/login?url=http://proquest.umi.com/pqdweb?did=764847191&Fmt=7&clientId=45844&RQT=309&VName=PQD]])
/***
!General
***/
/*{{{*/
body {
background: #EDEDED;
}
#contentWrapper{
background: #fff;
border:1px solid #DDD;
margin: 0 1em;
padding:0;
height:1%;
}
/*}}}*/
/***
!Links
***/
/*{{{*/
a,
a.tiddlyLink,
a.button,
a.externalLink,
#sidebarOptions .sliderPanel a{
color: #1D65BC;
text-decoration: none;
background: transparent;
border: 0;
}
a:hover,
a.tiddlyLink:hover,
a.button:hover,
a.externalLink:hover,
#sidebarOptions .sliderPanel a:hover
{
border: 0;
color: #1D65BC;
text-decoration: underline;
background:transparent;
}
/*}}}*/
/***
!Header
***/
/*{{{*/
.gradient {margin-top:1em; background:#3371A3;}
.titleLine{padding: 30px 40px 15px 30px;}
.titleLine a:hover{color:#fff; border-bottom:1px dotted #eee; text-decoration:none;}
.titleLine a{color:#fff; border-bottom:1px dotted #ccc;}
.siteTitle {
font-size: 2.2em;
font-weight: bold;
color:#fff;
}
.siteSubtitle {
font-size: 1.0em;
display: block;
margin: .3em auto 1em;
color:#fff;
}
/*}}}*/
/***
!TopMenu
***/
/*{{{*/
#topMenu br {display:none; }
#topMenu { background: #3371A3; font-size:1em; }
#topMenu { padding:5px 32px; }
#topMenu .button, #topMenu .tiddlyLink {
margin-left:0.1em; margin-right:0.1em;
padding:0.5em;
color:white; font-weight:bold;
}
#topMenu a.button:hover, #topMenu a.tiddlyLink:hover { background:#fff; color:#333; text-decoration:none;}
/*}}}*/
/***
!Display
***/
/***
!!!Display General
***/
/*{{{*/
#displayArea { margin: 0em 15.7em 0em 0em; }
#displayFooter {
clear: both;
}
/*}}}*/
/***
!!!Tiddler
***/
/*{{{*/
.tiddler {margin-bottom:1em; padding-bottom:1em;}
.tiddler {padding-left:1.5em;}
.title {color:#333; font-size:1.2em; border-bottom:1px solid #333; padding-bottom:0.3px;}
.subtitle { font-size:90%; color:#bbb; padding-left:0.25em; margin-top:0.1em; }
.shadow .title {
color: #aaa;
}
h1,h2,h3,h4,h5 { color: #333; background: transparent; padding-bottom:2px; border-bottom: 1px dotted #666; }
* html .viewer pre {
margin-left: 0em;
}
.viewer hr {
border: 0;
border-top: solid 1px #333;
margin: 0 8em;
color: #333;
}
.viewer a.button {color:#000; border:1px solid #1D65BC; font-weight:bold;}
.viewer a.button:hover{color:#fff; background:#3371a3; text-decoration:none;}
.tagClear {clear:none;}
/*}}}*/
/***
!!!Editor
***/
/*{{{*/
* html .editor textarea, * html .editor input {
width: 98%;
}
/*}}}*/
/***
!Sidebar
***/
/*{{{*/
#sidebar{
position:relative;
float:right;
margin-bottom:1em;
display:inline;
width: 16em;
}
/*}}}*/
#sidebar {background: #EBEEF1 ; right:0;}
.HideSideBarButton {float:right;}
.toolbar .button {color:#bbb; border:none;}
.toolbar .button:hover, .toolbar .highlight, .toolbar .marked, .toolbar a.button:active {background:transparent; color:#111; border:none; text-decoration:underline;}
.tiddler {border-bottom:3px solid #EEF1F3; padding-bottom:2em; padding-top:0em;}
.title {border-bottom:none; margin-right:8em;}
h1,h2,h3,h4,h5 { color: #333; background: transparent; padding-bottom:2px; border-bottom: none; }
#sidebar {background: #EBEEF1 ; right:0;}
#displayFooter {
clear: both;
}
#tiddlerDisplay{padding-top:1em;}
#sidebar .tabSelected, #sidebar .tabSected:hover {
color: #000;
background: #dbdee3;
border-top: solid 1px #B2B6BE;
border-left: solid 1px #B2B6BE;
border-right: solid 1px #B2B6BE;
border-bottom:solid 1px #dbdee3 !important;
padding-bottom:1px;
text-decoration:none;
}
#sidebarOptions, #sidebarTabs {border-left: 1px solid #B2B6BE;}
#sidebarTabs {border-bottom: 1px solid #B2B6BE;}
#sidebar .tabUnselected, #sidebar .tabUnselected:hover {
color: #F0F3F5;
background: #B2B6BE ;
border: solid 1px #B2B6BE ;
padding-bottom:1px;
}
#sidebarTabs .tabContents {border:none; background:#DBDEE3; }
#sidebarTabs .tabContents {border-top:1px solid #B2B6BE;}
#sidebarTabs .tabContents .tabContents {border-left:1px solid #b2b6be;}
.viewer pre, .viewer code {
border: 1px solid #B2B6BE;
background: #EBEEF1;}
#sidebarOptions .sliderPanel {
background: #EBEEF1; border:none;
}
#sidebarOptions input {
border: 1px solid #1d65bc;
}
#sidebarOptions input:hover, #sidebarOptions input:active, #sidebarOptions input:focus {
border: 1px inset #3371a3;
}
.tagging, .tagged {
border: 1px solid #dbdee3;
background-color: #ebeef1;
}
.selected .tagging, .selected .tagged {
background-color: #dbdee3;
border: 1px solid #B2B6BE;
}
.tagging .listTitle, .tagged .listTitle {
color: #bbb;
}
.selected .tagging .listTitle, .selected .tagged .listTitle {
color: #014;
}
.tagging .button:hover, .tagged .button:hover {
border: none; background:transparent; text-decoration:underline; color:#014;
}
.tagged .highlight, .tagged .marked, .tagged a.button:active {text-decoration:underline; background:transparent; color:#014;}
.tagging .button, .tagged .button {
color:#bbb;
}
.selected .tagging .button, .selected .tagged .button {
color:#014;
}
.viewer blockquote {
border-left:7px solid #ebeef1;
}
.viewer table {
border: 1px solid #3371a3;
}
.viewer th, thead td {
background: #3371a3;
border: 1px solid #3371a3;
color: #fff;
}
.viewer td, .viewer tr {
border: 1px solid #3371a3;
}
.editor input, .editor textarea {
border: 1px solid #1d65bc; background:#ebeef1;
}
.editor {padding-top:0.3em;}
.editor textarea:focus, .editor input:focus {
border: 1px inset #3371a3; background:#fff;
}
.popup {
background: #3371a3;
border: 1px solid #333;
}
.popup hr {
color: #333;
background: #333;
border-bottom: 1px;
}
.popup li.disabled {
color: #333;
}
.popup li a, .popup li a:visited {
color: #eee;
border: none;
}
.popup li a:hover {
background: #3371a3;
color: #fff;
border: none;
text-decoration:underline;
}
.viewer .button:active, .viewer .marked, .viewer .highlight {
color: #fff !important;
background: #3371a3;
border: 0;
}
.button:active {background:#1d65bc; border:0;}
#sidebar .button:active, #sidebar .marked, #sidebar .highlight {color:#014; background:transparent;text-decoration:none}
#messageArea {
border: 2px dashed #3371a3;
background: #dbdee3;
color: #fff;
font-size:90%;
}
#messageArea .button {
color: #1d65bc;
background: #ebeef1;
text-decoration:none;
font-weight:bold;
border:none;
}
#messageArea a.button {color:#1d65bc;}
#messageArea .button:hover {text-decoration:underline;}
.viewer .tabSelected, .viewer .tabSelected:hover{
color: #014;
background: #eee;
border-left: 1px solid #B2B6BE;
border-top: 1px solid #B2B6BE;
border-right: 1px solid #B2B6BE;
}
.viewer .tabUnselected, .viewer .tabUnselected:hover {
color: #fff;
background: #B2B6BE;
}
. viewer .tabContents {
color: #014;
background: #ebeef1;
border: 1px solid #B2B6BE;
}
.searchBar {float:right; font-size:0.9em;}
.searchBar .button {display:block; border:none; color:#ccc;}
.searchBar .button:hover{border:none; color:#eee;}
.searchBar input{
border: 1px inset #1d65bc; background:#dbdee3;
}
.searchBar input:focus {
border: 1px inset #3371a3; background:#fff;
}
.blog h2, .blog h3, .blog h4{
margin:0;
padding:0;
border-bottom:none;
}
.blog {margin-left:1.5em;}
.blog .excerpt {
margin:0;
margin-top:0.3em;
padding: 0;
margin-left:1em;
padding-left:1em;
font-size:90%;
border-left:1px solid #ddd;
}
#tiddlerWhatsNew h1, #tiddlerWhatsNew h2 {border-bottom:none;}
div[tags~="RecentUpdates"], div[tags~="lewcidExtension"] {margin-bottom: 2em;}
#topMenu .fontResizer {float:right;}
#topMenu .fontResizer .button{border:1px solid #3371A3;}
#topMenu .fontResizer .button:hover {border:1px solid #fff; color:#3371A3;}
#sidebarTabs .txtMainTab .tiddlyLinkExisting {
font-weight: normal;
font-style: normal;
}
#sidebarTabs .txtMoreTab .tiddlyLinkExisting {
font-weight: bold;
font-style: normal;
}
/***
|''Name:''|TableSortingPlugin|
|''Description:''|Dynamically sort tables by clicking on column headers|
|''Author:''|Saq Imtiaz ( lewcid@gmail.com )|
|''Source:''|http://tw.lewcid.org/#TableSortingPlugin|
|''Code Repository:''|http://tw.lewcid.org/svn/plugins|
|''Version:''|2.02|
|''Date:''|25-01-2008|
|''License:''|[[Creative Commons Attribution-ShareAlike 3.0 License|http://creativecommons.org/licenses/by-sa/3.0/]]|
|''~CoreVersion:''|2.2.3|
!!Usage:
* Make sure your table has a header row
** {{{|Name|Phone Number|Address|h}}}<br> Note the /h/ that denote a header row
* Give the table a class of 'sortable'
** {{{
|sortable|k
|Name|Phone Number|Address|h
}}}<br>Note the /k/ that denotes a class name being assigned to the table.
* To disallow sorting by a column, place {{{<<nosort>>}}} in it's header
* To automatically sort a table by a column, place {{{<<autosort>>}}} in the header for that column
** Or to sort automatically but in reverse order, use {{{<<autosort reverse>>}}}
!!Example:
|sortable|k
|Name |Title |Year |Type |h
|ZBloggs, Fred |$12000.00 |1353 |+1.2 |
|ABloggs, Fred |$12000.00 |1353 |1.2 |
***/
// /%
//!BEGIN-PLUGIN-CODE
config.tableSorting = {
darrow: "\u2193",
uarrow: "\u2191",
getText : function (o) {
var p = o.cells[SORT_INDEX];
return p.innerText || p.textContent || '';
},
sortTable : function (o,rev) {
SORT_INDEX = o.getAttribute("index");
var c = config.tableSorting;
var T = findRelated(o.parentNode,"TABLE");
if(T.tBodies[0].rows.length<=1)
return;
var itm = "";
var i = 0;
while (itm == "" && i < T.tBodies[0].rows.length) {
itm = c.getText(T.tBodies[0].rows[i]).trim();
i++;
}
if (itm == "")
return;
var r = [];
var S = o.getElementsByTagName("span")[0];
c.fn = c.sortAlpha;
if(!isNaN(Date.parse(itm)))
c.fn = c.sortDate;
else if(itm.match(/^[$|£|€|\+|\-]{0,1}\d*\.{0,1}\d+$/))
c.fn = c.sortNumber;
else if(itm.match(/^\d*\.{0,1}\d+[K|M|G]{0,1}b$/))
c.fn = c.sortFile;
for(i=0; i<T.tBodies[0].rows.length; i++) {
r[i]=T.tBodies[0].rows[i];
}
r.sort(c.reSort);
if(S.firstChild.nodeValue==c.darrow || rev) {
r.reverse();
S.firstChild.nodeValue=c.uarrow;
}
else
S.firstChild.nodeValue=c.darrow;
var thead = T.getElementsByTagName('thead')[0];
var headers = thead.rows[thead.rows.length-1].cells;
for(var k=0; k<headers.length; k++) {
if(!hasClass(headers[k],"nosort"))
addClass(headers[k].getElementsByTagName("span")[0],"hidden");
}
removeClass(S,"hidden");
for(i=0; i<r.length; i++) {
T.tBodies[0].appendChild(r[i]);
c.stripe(r[i],i);
for(var j=0; j<r[i].cells.length;j++){
removeClass(r[i].cells[j],"sortedCol");
}
addClass(r[i].cells[SORT_INDEX],"sortedCol");
}
},
stripe : function (e,i){
var cl = ["oddRow","evenRow"];
i&1? cl.reverse() : cl;
removeClass(e,cl[1]);
addClass(e,cl[0]);
},
sortNumber : function(v) {
var x = parseFloat(this.getText(v).replace(/[^0-9.-]/g,''));
return isNaN(x)? 0: x;
},
sortDate : function(v) {
return Date.parse(this.getText(v));
},
sortAlpha : function(v) {
return this.getText(v).toLowerCase();
},
sortFile : function(v) {
var j, q = config.messages.sizeTemplates, s = this.getText(v);
for (var i=0; i<q.length; i++) {
if ((j = s.toLowerCase().indexOf(q[i].template.replace("%0\u00a0","").toLowerCase())) != -1)
return q[i].unit * s.substr(0,j);
}
return parseFloat(s);
},
reSort : function(a,b){
var c = config.tableSorting;
var aa = c.fn(a);
var bb = c.fn(b);
return ((aa==bb)? 0 : ((aa<bb)? -1:1));
}
};
Story.prototype.tSort_refreshTiddler = Story.prototype.refreshTiddler;
Story.prototype.refreshTiddler = function(title,template,force,customFields,defaultText){
var elem = this.tSort_refreshTiddler.apply(this,arguments);
if(elem){
var tables = elem.getElementsByTagName("TABLE");
var c = config.tableSorting;
for(var i=0; i<tables.length; i++){
if(hasClass(tables[i],"sortable")){
var x = null, rev, table = tables[i], thead = table.getElementsByTagName('thead')[0], headers = thead.rows[thead.rows.length-1].cells;
for (var j=0; j<headers.length; j++){
var h = headers[j];
if (hasClass(h,"nosort"))
continue;
h.setAttribute("index",j);
h.onclick = function(){c.sortTable(this); return false;};
h.ondblclick = stopEvent;
if(h.getElementsByTagName("span").length == 0)
createTiddlyElement(h,"span",null,"hidden",c.uarrow);
if(!x && hasClass(h,"autosort")) {
x = j;
rev = hasClass(h,"reverse");
}
}
if(x)
c.sortTable(headers[x],rev);
}
}
}
return elem;
};
setStylesheet("table.sortable span.hidden {visibility:hidden;}\n"+
"table.sortable thead {cursor:pointer;}\n"+
"table.sortable .nosort {cursor:default;}\n"+
"table.sortable td.sortedCol {background:#ffc;}","TableSortingPluginStyles");
function stopEvent(e){
var ev = e? e : window.event;
ev.cancelBubble = true;
if (ev.stopPropagation) ev.stopPropagation();
return false;
}
config.macros.nosort={
handler : function(place){
addClass(place,"nosort");
}
};
config.macros.autosort={
handler : function(place,m,p,w,pS){
addClass(place,"autosort"+" "+pS);
}
};
//!END-PLUGIN-CODE
// %/
/***
|Name|TagCloudPlugin|
|Source|http://www.TiddlyTools.com/#TagCloudPlugin|
|Version|1.7.0|
|Author|Eric Shulman|
|Original Author|Clint Checketts|
|License|http://www.TiddlyTools.com/#LegalStatements|
|~CoreVersion|2.1|
|Type|plugin|
|Description|present a 'cloud' of tags (or links) using proportional font display|
!Usage
<<<
{{{
<<cloud type action:... limit:... tag tag tag ...>>
<<cloud type action:... limit:... +TiddlerName>>
<<cloud type action:... limit:... -TiddlerName>>
<<cloud type action:... limit:... =tagvalue>>
}}}
where:
* //type// is a keyword, one of:
** ''tags'' (default) - displays a cloud of tags, based on frequency of use
** ''links'' - displays a cloud of tiddlers, based on number of links //from// each tiddler
** ''references'' - displays a cloud of tiddlers, based on number of links //to// each tiddler
* ''action:popup'' (default) - clicking a cloud item shows a popup with links to related tiddlers<br>//or//<br> ''action:goto'' - clicking a cloud item immediately opens the tiddler corresponding to that item
* ''limit:N'' (optional) - restricts the cloud display to only show the N most popular tags/links
* ''tag tag tag...'' (or ''title title title'' if ''links''/''references'' is used)<br>shows all tags/links in the document //except// for those listed as macro parameters
* ''+TiddlerName''<br>show only tags/links read from a space-separated, bracketed list stored in a separate tiddler.
* ''-TiddlerName''<br>show all tags/links //except// those read from a space-separated, bracketed list stored in a separate tiddler.
* ''=tagvalue'' (//only if type=''tags''//)<br>shows only tags that are themselves tagged with the indicated tag value (i.e., ~TagglyTagging usage)
//note: for backward-compatibility, you can also use the macro {{{<<tagCloud ...>>}}} in place of {{{<<cloud ...>>}}}//
<<<
!Examples
<<<
//all tags excluding<<tag systemConfig>>, <<tag excludeMissing>> and <<tag script>>//
{{{<<cloud systemConfig excludeMissing script>>}}}
{{groupbox{<<cloud systemConfig excludeMissing script>>}}}
//top 10 tags excluding<<tag systemConfig>>, <<tag excludeMissing>> and <<tag script>>//
{{{<<cloud limit:10 systemConfig excludeMissing script>>}}}
{{groupbox{<<cloud limit:10 systemConfig excludeMissing script>>}}}
//tags listed in// [[FavoriteTags]]
{{{<<cloud +FavoriteTags>>}}}
{{groupbox{<<cloud +FavoriteTags>>}}}
//tags NOT listed in// [[FavoriteTags]]
{{{<<cloud -FavoriteTags>>}}}
{{groupbox{<<cloud -FavoriteTags>>}}}
//links to tiddlers tagged with 'package'//
{{{<<cloud action:goto =package>>}}}
{{groupbox{<<cloud action:goto =package>>}}}
//top 20 most referenced tiddlers//
{{{<<cloud references limit:20>>}}}
{{groupbox{<<cloud references limit:20>>}}}
//top 20 tiddlers that contain the most links//
{{{<<cloud links limit:20>>}}}
{{groupbox{<<cloud links limit:20>>}}}
<<<
!Revisions
<<<
2009.07.17 [1.7.0] added {{{-TiddlerName}}} parameter to exclude tags that are listed in the indicated tiddler
2009.02.26 [1.6.0] added {{{action:...}}} parameter to apply popup vs. goto action when clicking cloud items
2009.02.05 [1.5.0] added ability to show links or back-links (references) instead of tags and renamed macro to {{{<<cloud>>}}} to reflect more generalized usage.
2008.12.16 [1.4.2] corrected group calculation to prevent 'group=0' error
2008.12.16 [1.4.1] revised tag filtering so excluded tags don't affect calculations
2008.12.15 [1.4.0] added {{{limit:...}}} parameter to restrict the number of tags displayed to the top N most popular
2008.11.15 [1.3.0] added {{{+TiddlerName}}} parameter to include only tags that are listed in the indicated tiddler
2008.09.05 [1.2.0] added '=tagname' parameter to include only tags that are themselves tagged with the specified value (i.e., ~TagglyTagging usage)
2008.07.03 [1.1.0] added 'segments' property to macro object. Extensive code cleanup
<<<
!Code
***/
//{{{
version.extensions.TagCloudPlugin= {major: 1, minor: 7 , revision: 0, date: new Date(2009,7,17)};
//Originally created by Clint Checketts, contributions by Jonny Leroy and Eric Shulman
//Currently maintained and enhanced by Eric Shulman
//}}}
//{{{
config.macros.cloud = {
tagstip: "%1 tiddlers tagged with '%0'",
refslabel: " (%0 references)",
refstip: "%1 tiddlers have links to '%0'",
linkslabel: " (%0 links)",
linkstip: "'%0' has links to %1 other tiddlers",
groups: 9,
init: function() {
config.macros.tagCloud=config.macros.cloud; // for backward-compatibility
config.shadowTiddlers.TagCloud='<<cloud>>';
config.shadowTiddlers.StyleSheetTagCloud=
'/*{{{*/\n'
+'.tagCloud span {line-height: 3.5em; margin:3px;}\n'
+'.tagCloud1{font-size: 80%;}\n'
+'.tagCloud2{font-size: 100%;}\n'
+'.tagCloud3{font-size: 120%;}\n'
+'.tagCloud4{font-size: 140%;}\n'
+'.tagCloud5{font-size: 160%;}\n'
+'.tagCloud6{font-size: 180%;}\n'
+'.tagCloud7{font-size: 200%;}\n'
+'.tagCloud8{font-size: 220%;}\n'
+'.tagCloud9{font-size: 240%;}\n'
+'/*}}}*/\n';
setStylesheet(store.getTiddlerText('StyleSheetTagCloud'),'tagCloudsStyles');
},
getLinks: function(tiddler) { // get list of links to existing tiddlers and shadows
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The first decade of life is a time of impossible courage. We are underlings in every way—the smallest, the least experienced, the most malleable of creatures. Yet, it is from this bantam position that we face trauma, engage an outside world, and move valiantly into challenges or instinctively hide from things too large, all in an inmate response to our imperative for survival.
This dissertation honors these movements of childhood, particularly the strivings of little girls, for autonomy in the face of familial and cultural injunctions that seek to goad them into predictability and limitation. Further, this work asserts that it is in our very disobedience that the clues to our truest natures reside; for in our intransigence, we champion uniqueness—those aspects of our natures that demand our loyalty and our effort because they are the truths that set us apart.
The theoretical portion of this work proposes that in the 1950s, the largely unquestioned and unchallenged notions of women as caregivers created a "good girl agenda" which modulated and directed female behavior in white, middle-class America. The Christian interpretation of the myth of the archetypal child provided both the restrictions and the hope for mothers of that era, who projected their unlived hopes and dreams upon their daughters. Because the cultural restrictions were so solidly in place, employment of the energies of the archetype of the trickster—breaking of existing structures, opening individuals and cultures to new possibilities, and creation of new consciousness-became a necessary antidote to cultural insistence upon virtuous homogeneity.
Disobedience and archetypal encounter inform the production portion of this dissertation. Four pieces of fiction illustrate a little girl's defiance, her punishment, and her ensuing encounters with four immutable figures from Western myth—Artemis, fierce protector of childhood; Lilith, exemplar of ownership of one's senses; Hephaestos, creative worker; and Hermes, clever prototype of self-sufficiency. Each encounter provides support for what girls and women already intuit: the power of subversion and of story in re-imagining oneself.
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Within the realm of depth psychology, a unique perspective of the alcoholic emerges, and a deeper wisdom is called forth. Within this particular field of endeavor, the still largely unexplained phenomenon of alcoholism is witnessed as something other than pathological. Depth psychologists envision the debilitating disease of alcoholism as a call, of sorts, inviting the affected individual to embark on a unique transformational journey, or, perhaps, to enter a sacred portal into the perceived divine realm of existence.
Within the field of mythological studies, the Greek god Dionysus—a highly alchemical agent—plays an integral role in the sphere of alcohol, and thus, the alcoholic. As the god of wine, an initiatory executor, Dionysus is believed to have a transforming effect on his devotees. It is keenly understood that Dionysus bestows both raptures of ecstatic pleasure as well as horrific bouts of sheer madness. It is imagined that the highly paradoxical deity Dionysus and the practicing alcoholic both appear to be actively participating in psyche's mysteriously vast soulscape.
This dissertation is an inquiry into the interaction between the Greek god Dionysus and the disease of alcoholism, striving to unearth a viable depth psychological understanding of this specific enigma. The Jungian perspective on mental health embraces the ideal that individuals can, at some level, embody and integrate the divine archetypal presence of deities with a modicum of openness, so that they may proceed on their evolutionary journey towards transformation and, ultimately, individuation. Owing to the fact that within the province of mythological studies there is an abundance of tales that address the age-old issue of succumbing to divine forces that are greater than oneself, and subsequently having to suffer adverse consequences, it becomes apparent that a measurable degree of foresight and understanding are required to travail towards the amplification of primordial, archetypal images in a safe, contained manner.
Relying on the collective wisdom of all those who have gone before me, an innovative portrait of addiction and recovery presents itself within this text.
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Shellenbarger, S. (2005). //The breaking point : how the female midlife crisis is transforming today's women//. New York: Henry Holt.
[img[http://bks3.books.google.com/books?id=U4IurCxJrbIC&printsec=frontcover&img=1&zoom=1&sig=ACfU3U1ZECyrs6AnU68svpSIPS86UFBc9A]]
In the tradition of The Second Shift, a groundbreaking work that identifies and explains the phenomenon poised to redefine our culture When Sue Shellenbarger wrote about her midlife crises in her award-winning Wall Street Journal Work & Family column, the volume and emotional intensity of the responses from her readers was stunning. As she heard story after story of middle-aged women radically changing course in search of greater fulfillment, a trend began to emerge: an entire generation of women was experiencing the tumultuous transition of midlife in ways not seen before. To capture this paradigm shift, Shellenbarger combines original research data and interviews with more than fifty women who've navigated their own midlife crisis. Long stereotyped as the province of men, today the midlife crisis is reported with greater frequency by women than men. Emboldened by the financial independence to act upon midlife desires, exhausted by decades of playing supermom and repressing the feminine sides of themselves to succeed at work, women are shedding the age roles of the past in favor of new pursuits in adventure, sports, sex, romance, education, and spirituality. And in the process they are rewriting all the rules. Beyond defining a new phenomenon, The Breaking Point shows how various options women use to cope with the turmoil of midlife-from playing it safe to dynamiting their lives-have a profound impact on their families, careers, and our culture at large. Provocative, insightful, and resonant, The Breaking Point is sure to be one of the most controversial and talked-about publications of 2005.
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Although a case study of William Sharp's encounter with the numinous is the focus of this study, research into the numinous experience in general is presented along with an alternative world view to the dominant Western rationalistic one. Evidence is provided that the Celtic and the Hindu approach come from the same source and that they, in comparison, to the West's dualistic, one-sided view, offer a nondualistic option in which the numinous can be more fully understood. This study is interested in a specific type of numinous experience in which the intensity between the manifest and the unmanifest aspects of the psyche confront each other and an explosion of psychic energy is released, causing a dramatic change. Analysis of both philosophical and psychological perspectives is undertaken, and it is found that while the psychological approach provided understanding of the human (manifest) side, the philosophical approach with its focus on beingness or in Heideggerian language Dasein , provides a perspective from the spirit (unmanifest) side. Michael Washburn captures the impact of the exchange of energy between the two sides: the spirit is personalized and the body is spiritualized. A mythological approach compares Sharp and Fiona to other more famous "couples" and supplements the theoretical studies. For example, Heidegger taught that Dasein must stay close to its center, its essence; otherwise it gets lost in "the they." This concept is reinforced by Lady Philosophy, who informs Boethius, "You are suffering merely from lethargy, the common illness of deceived minds. You have forgotten yourself a little, but you will quickly be yourself again when you recognize me." Lady Philosophy represents the soul and the inner teacher and is a counterpart to Fiona Macleod, who is considered Sharp's soul and inner teacher. The conclusion of this study is that the numinous experience can be understood as a normal human-development experience, is not necessarily religious, and has a sensuous component.
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<<link 2302024191>>
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Medusa is one of the most archaic and enduring images in Greek mythology. From her literary debut in Homer's Iliad to present day, she has been frozen in time as a petrifying and petrified head. While she has been re-imagined in art, feminism, and depth psychology, it is the image of her severed head frozen in rage—//frozen in silence//—that remains most firmly embedded in the Western psyche. She is asking now to be heard.
This dissertation explores Medusa's voicelessness, specifically, the silenced feminine in powerful women, by examining her relationship with Athena. Athena is the female voice of the patriarchy. She adopts the voice of the father in order to be heard in the culture, yet it is a voice that ultimately betrays because it is not her own. Medusa symbolizes both Athena's wound and vocation. Athena must re-member Medusa to reclaim her authenticity.
Using the imaginal methodology of archetypal psychology, I explore three images evoked by Caravaggio's //Head of Medusa//—Shield, Severed Head, and Snakes—that epitomize the paradox of Medusa. Perseus' //Shield// simultaneously reflects and deflects, symbolizing the identification and projection that occur when Medusa as shadow— the severed aspects of self—is viewed in the minor of the soul.
Medusa's //Severed Head// symbolizes the wound of the powerful woman—the mind disconnected from the body, instincts, intuition, and eros—with the attendant loss of authentic voice. The //Snakes// on her head represent a creative, vital life force and the way forward, which is more fluid, relational, and embodied—a less defended consciousness that requires Athena to remove her armor and dissolve the rigid boundaries that keep her defended from herself and others and that keep Medusa dismembered, literally and figuratively petrified in Western consciousness. Only then can Athena speak authentically with a voice resonant in her soul.
Being dismembered allows Medusa to be re-membered and re-storied. By telling our own stories, by claiming our authentic voices, women give Medusa voice and begin to loosen the literal interpretations that have //frozen her in a silent scream// for centuries.
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The U.S. legal system is built on the premise that the rational use of reason is superior to any other approach to truth. If this notion is engendered by fear, lack of awareness, and/or prejudicial repression of any other approach, it is usually due to ignorance of other approaches. Engaging the language of myth to uncover systematically what is hidden dispels ignorance until it becomes apparent that legal rationality arises out of the same source as irrationality. In addition, a feminist approach to such an examination reveals that the U.S. legal system is based on a male model, which excludes women and projects weakness and negative emotions onto female lawyers. By raising awareness of the value of characteristics traditionally deemed irrational, the projection of these characteristics can be withdrawn and identified as nongendered but feminine.
Mythopoetic examination of the goddesses of law from ancient societies and the myths associated with them exposes archetypal characteristics that are hidden within the U.S. legal system. For instance, Themis was the Titan goddess of Social Order in the Greek civilization. A study of her characteristics, such as intuitive communication through the Oracle, reveals a feminine principle of law that survives the changes in any social structure. Inanna was the Goddess of Heaven and Earth in the Sumerian civilization, holder of the me , universal rules and limits observed by gods and humans alike. A study of The Descent of Inanna reveals the value that Sumerian society placed on the initiation mysteries of descent and disintegration, translated into union of the "I" with the "Self." The lawyer, who embarks on a metaphorically similar journey, might locate the source of rational and irrational power that informs the legal system. Finally, Athena was the Goddess of Wisdom and Justice. She seemed to support a male model of civilization. Yet, the actions of this goddess reveal that she honored the archaic feminine and utilized irrational creative energy to raise the judicious operation of such civilization to the next level. She gives credence to the idea that parallel approaches can be taken by lawyers in search of truth.
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The Wild Sacred is a state of consciousness in which numinous energies are experienced in our bodies and in everyday life. This awareness creates a felt connection with all of life. To reclaim the Wild Sacred, we must enter into the imaginal realm, reintegrate our instinctual animal nature, and connect with the creative energies of soul. This research explores the Wild Sacred from various perspectives: mythological, archetypal, historical, philosophical, psychological, and theological.
The Wolf is an archetypal embodiment and image of the wild. Scapegoated in our patriarchal culture, wolves have been made to carry the projections of a society that has demonized an animal once held to be sacred. Using a hermeneutical approach, the threads of history that came together and virtually eliminated the wildness in our culture, both externally in the forests and internally in our psyches, are identified. To reclaim this wildness, we must enter the depths of the forest, there to meet, honor, and relate with the Wolf.
Jung stated that archetypal expressions are manifested in the body as well as in the mind. Using six different versions of the fairy tale, Little Red Riding Hood , spanning from a sixteenth century oral tale to contemporary renditions, the archetypal symbolism of Little Red Riding Hood, the Wolf, and Grandmother are examined in light of the mythological figures of Dionysos, Saturn, and Rhea, as well as more ancient shamanistic figures of the Bone Mother, Trickster, and Mistress and Master of the Animals. The Wolf is the symbol and embodiment of chthonic energies of creation, Little Red Riding Hood is the sacred fiery energy of the soul, and Grandmother is the medial energy of the imaginal realm.
Maps by which the Wild Sacred can be revisioned and reclaimed are set forth, interweaving the work of feminist philosopher Luce Irigaray, thealogian Catherine Keller, psychologist Michael Washburn, and psychiatrist Allan Chinen. Language is seen as a function of our relationship with nature, and animals and nature revisioned in a way that sees them as sources of the sacred. Together, a tapestry emerges that integrates instinct, reason, and soul, creating the Wild Sacred.
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Arguing for the absence of myth may seem unnecessary, insofar as this absence is what contemporary culture has inherited. The givenness of the absence of myth is evidenced not only by the more conspicuous discrepancies between antiquity and today, such as the lack of cult and ritual and a de-animated natural world, but also by the emergence of conceptual thought and psychological awareness, which could only have been initiated out of the dissolution of a pre-reflective (mythic) mode of being in the world. And yet, what appears to be straightforward becomes unduly complicated when myth is intentionally conflated with thought and reflection, usually in the attempt to cultivate a "mythic consciousness" that aims to reclaim an existential meaning acutely felt to be lost. Subsequently, myth, which for much of the world has been dead for over 2500 years, cannot rest in peace; it must be unearthed, redefined, and re-contextualized such that modern notions of myth are made to substitute for something that modernity has never experienced, but only imagined.
This study questions the belief that we can never be without myth, that myth is necessary and vital to authentic, aware living. My contention is that this perspective defends against a world logic that has long incorporated the absence of myth into consciousness. We are psychological, not mythical, beings now—and there is a profound difference. Equating the two, as Jungian psychology is prone to do, runs counter to the move towards greater consciousness and sets up a trap whereby what is ostensibly intended can only partially be realized. When consciousness looks backwards to an older form of reflection, when myth is designated the end as well as the origin, the fundamental rupture necessary to consciousness is swallowed by an idea of consciousness, one believed to soothe the inevitable fragmentation and meaninglessness. Yet, this is a notion of consciousness that must cocoon itself from reality in order to subsist and thus functions more like unconsciousness rather than an opening into life as it is.
Drawing from myth theory, depth psychology, and postmodern philosophy, this study unravels the current confounding of myth, relieving myth of its inflated purpose and unlikelihood of adequately addressing today's existential concerns
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This dissertation examines the mytho-cultural phenomenon of a vision of beauty and the metaphysics of light within eastern Christianity encompassing visual, verbal, and liturgical imagery. The purpose of this dissertation is the recovery of beauty, grace, and wisdom. This recovery integrates the eastern Christian perspective within the totality of the western worldview, which has often neglected the rich heritage of the eastern tradition. The dissertation invites the western world to rediscover a paradigm of beauty, always present in the eastern Christian tradition, but never acknowledged in its wholeness up to the present. This work redresses this imbalance and unites Orthodox theology and modern thought, sacred tradition and secular culture.
Recovering beauty, grace, and wisdom requires vision. This vision is a holographic paradigm projecting different facets of one entity where different concepts mean the same thing. Underlying this dissertation is the intent to show how that is so. This is done in a poetic movement framed within a phenomenological approach weaving religious experience with philosophy. It is a hermeneutical texturing that derives its materials from the living tradition of the Church and from secular scholarship, allowing the different frames of reference—mythology, philosophy, theology, depth psychology, art, and cultural history—to interact to create this holographic vision.
The mythopoetic thread of this study takes its origin from the symbolism of pagan mythology as well as the Old and New Testaments, weaving the imaginal tapestry of light through cultures within the sphere of Orthodox Christianity, in particular Greek, Russian, and Armenian. The unity of divine light and beauty is discussed through the aesthetics (aims) and poetics (means) of soul and matter. In the Orthodox perspective, the organic, mineral, vegetal, and animal world participates in the deification of humankind with the assistance of the Holy Spirit.
This study culminates in the formulation of a new myth in light of the Orthodox concepts of theosis and theurgy, honoring the return of Hephaestus, God of fire and light, within a metaculture, where artistic creations are carriers of Beauty, Grace, and Wisdom.
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This dissertation explores female triads in Greek mythology from depth psychological and feminist perspectives. The female triads in this study include: the Fates ( //Moirai// ), Furies ( //Erinyes/Eumenides// ), Hesperides, Graces ( //Charities// ), Hours ( //Horai// ), Gorgons, Sirens, Graiai and Thriai.
The intention of this work is to broaden our understanding of female psychology by gathering female images that express other modes of being and imagining, and to explore more deeply a view of women based neither upon a model of power and significance, nor on the economic values of fecundity and maternity. My thesis is that female experience, as lived in the imaginary of myth, poetry and art and in the real body and psyche entails a multiplicitous experience of self. The female psyche moves in multiplicity, in contrast to the male which is often said to define itself through singularity.
This work bridges the methods of archetypal psychology and feminist studies, which, when employed simultaneously, bring to the inquiry of the female triad image a depth that speaks to both psyche and body. Furthermore, it asks whether the female triads deepen our understanding of women as articulated in depth psychology and feminist studies.
This dissertation re-evaluates the monotheistic Great Mother Goddess myth and its application to women's studies and depth psychology. Following this critique it turns to the myths and images of female triads in Greek mythology in order to give devoted and intentional space to these stories and figures so as to discern what psyche is revealing through these poetic images. Then it engages the theories concerning the trinity and triad symbol in depth psychology put forward in the works of Freud, Jung, Neumann and others. The differences between female triads and male trinities are highlighted. Following this it explores the feminist perspective as represented by Cixous, Irigaray, Downing, Chodorow, Lauter, and others with commitment to revisioning and conceptually transforming ideas about the female self. This feminist revisioning is brought forth by exploring in depth the female triad's relevance to a new understanding of female experiences and psyches.
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As his letters reveal, J. R. R. Tolkien clearly intended to open a way for others to follow after him in the cultivation and literary creation of Other-worlds, not only as a refreshment to the soul, but as something of a natural mode and right of inheritance for each of us as the creative offspring of a Maker.
This hermeneutic exegesis of Tolkien's creative process reveals that he and his works not only hold up a literary mirror to the wisdom and praxis of depth and archetypal psychology but also exemplify the consciousness of a larger "magical" and imaginative tradition that calls for an even more aesthetic and imaginal psychology. This venerable lineage was named the "tradition of the magus" by fifteenth-century neoplatonic artist-scholar Marsilio Ficino. Its ancient principles served to ignite the Florentine Renaissance. Those of the magus lineage embrace the hermeneutic perspective innate to the Heart, which is both a participatory and a transformative threshold. This initiatory path is mythically sponsored by the friendliest god, Hermes. It is the intent of this study to make more visible this tradition and to identify certain forces that harm or censor it.
A further purpose of this theoretical study includes making available Tolkien's thoughts on his literary process, which impart to us a recovery of the threshold of the Heart from which a sense of kinship with all life and creative insight springs. This threshold is an imaginal doorway through which the "middle realm," or what Henry Corbin has called the mundus imaginalis, can be experienced. From this place, the creative process becomes co-creation within the parameters established by the biosphere and the life around us.
Tolkien reminds us of the divinity within, calling us to a deeper personal level of truth and reality. Such a lens allows us to perceive beyond our everyday world to the powers, images, figures, creatures, and stories of fäerie and the middle realm which deeply inform our lives. With this perception Tolkien reminds us that we might participate in the ongoing unfolding of the epiphanic living cosmos.
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Félix Guattari enunciates the concept of virtual ecology as production of subjectivity from the three ecologies—the environment, the socius, and the psyche. Based on Guattari's frame of the three ecologies, this research transversally modelizes the ecopsychology specific to the Ryukyu Islands of Okinawa.
Throughout the course of history, inventions of new machines and technologies, alterations of perception of space and subsequent deterritorialization, and new kinds of war took place coincidentally. Okinawa has a history of deterritorialization, beginning with colonization and the annexation of the former Ryukyu kingdom by Japan in 1879. A devastating consequence of this led, at the end of World War II, to the US occupation of Okinawa, which continued until 1972. Even after restoration to Japan, post-colonial deterritorialization by corporate industries continues. And moreover, 75% of the total US military presence in Japan is concentrated in Okinawa, an area which comprises only 0.6% of Japan's total land area. However, Ryukyuans have never surrendered their cultural heritage as existential Territories. Living on a complex of subtropical islands in the East China Sea with abundant marine life in the beautiful emerald ocean, islanders have developed communities of the psyche that coexist with their environment. Their ecosophy finds spiritual strength within as wisdom to be nourished, rather than without as power over nature to control it.
I call the complexity of the cultural complexes of the Ryukus "the Ryukyu complex." Applying Thomas Singer and Samuel L. Kimble's concept of the cultural complex, Michael Vannoy Adams' cultural unconscious, and Theodore Roszak's ecological unconscious to the topoanalysis of the Ryukyu complex, ecopsychology discloses place and placing of the Ryukyu complex in (1) the notion of nirai, the "paradise afar in the ocean" as the rhizome, (2) the visiting deities of carnivals as representation, (3) Gaston Bachelard's animalizing imagination as pre-presentation, (4) absolute immanence of the resident deity as the body without organs, and (5) illness narratives of noro, the "priestess" and yuta, the "shamaness" as production of subjectivity.
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This interdisciplinary dissertation explores the creative processes of an artist and the transcendent nature of artistic experience. The phenomenological and heuristic aspects of this dissertation look at elements of the creative processes presented from both within and without . From within, the specific production pieces that informed and created this dissertation are explored through a mythopoetic lens. This provides the reader with an inside glimpse of the movement that occurs within the artist's mind, body, and spirit as she gives voice to the images that present to her. From without, three fundamental approaches to understanding the artist and the creative processes are presented: mimesis, numinous and informed intuition . The dissertation explores how mythic, depth psychological, and theoretical viewpoints illuminate these processes.
It has been my experience as a life-long artist that artistic creativity involves living and working at the borderlines of the rational and mythopoetic. This transcendent place of edgeness requires the artist to partake in a dance of body, mind, and spirit as she gives voice to the creative urges that surge through her. In this dissertation I have illustrated my journey of art making with four series of paintings, the written sacred stories told to me by some of these painted images, and the resultant creation myths that I wrote. It is my hope that these examples will not only provide insight into my own creative process, but also into the nature and possibilities involved with creative processes in general. While embracing the unknown, the irrational, and the mythopoetic, creativity also underscores the dynamic potential of simultaneously holding the tensions of the rational and the mythopoetic, the real and the unreal, and fact and fiction. This in -formed holding is one of the essential lessons artists can teach us all: that embracing intuition and the dark ambiguities which are forever a part of life, while simultaneously keeping a toehold to rationality, leads to an experience of the creative dance of being in the world .
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Why do we fall in love? What is psyche trying to tell us? Why do we often choose lovers that are unsuitable or romances that are doomed to failure? While these types of love affairs may end badly they have much to teach us about ourselves. Often in love relationships we project our inner characteristics on to our beloved, never realizing the characteristics we see in them are actually our own. If we are mindful of our tendency to project, we can learn about ourselves and the polytheistic wholeness of our psyches. Using a primarily Jungian and archetypal lens, this dissertation examines the myths of Inanna, Isis, Sita, and Medea from the female point of view, focusing in particular on the women's initiation into a deeper knowledge of themselves and their capabilities—both positive and negative.
From Inanna's story, we learn about love, the bliss of sexual union, rejection, the value of slowing down and turning inward, the power of anger and the grace of compassion. From Isis' story, we learn that a woman may be the more active partner in a marriage, holding her husband together when he falls apart, rearing their child by herself, manipulating others to gain power, using her feminine wiles to protect those she loves and learning to let go. From Sita, we learn there is strength in solitude and that even though a woman may follow traditional roles in marriage that does not mean she lacks her own voice. From Medea, we learn the power of actively gaining our independence-no matter the costs.
Each woman's story and her many different roles within her story offer new perspectives for contemporary women. Not only does each female character contain a multiplicity of roles within herself, but also all four women taken together offer a small glimpse into the possibilities of the polytheistic wholeness of the psyche. By paying attention to who and what we fall in love with, we can learn about ourselves. The outer relationship reflects an inner potential that wants to be heard. Even if the outer relationship fails, if we are mindful, we can gain greater knowledge of our many inner voices.
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My soul would sing of metamorphoses—Ovid, Metamorphoses
Mythic imagination supports the profound interconnection of psyche and nature. This dissertation attempts to understand that interconnection respectively through (a) Ovid's story of Phaethon, son of Apollo, (b) two alchemical images, that of Mercurius and the stages of alchemy, and (c) the story of earth's evolution. It suggests that the story of earth's evolution is at the same time a narrative of alchemical transformation. The myth of Phaethon provides a way of seeing our postmodern condition of alienation and the devastation of our planet as indications of the profound need that exists for a functional cosmology, imaginatively compelling and scientifically relevant, that takes as its point of reference the universe itself and not more narrowly the human species.
This dissertation contributes a new way of understanding the story of humanity through an alchemical metaphor as a story deeply imbedded in the plot of the planet, and indeed, in the narrative of the universe. Alchemy provides an important angle of vision through which to appreciate the imaginative capacity not only of the human species but also of psyche. The alchemical imagination, with its connections between matter and spirit, between the energy of the opposites, serves in some important capacity to reconnect us to a renewed appreciation of our cosmological roots by bringing a wider context of connection and communion within and between psyche and nature.
This dissertation will consist of both a theoretical written piece and a creative project, including an artistic rendering of the story of Phaethon and a multimedia portrayal of the story of //From Stars to Early Civilization//. The artistic rendering is being done by well-known southwestern artist Roy Purcell.
The multimedia portrayal of the story of the //From Stars to Early Civilization// is continued on a DVD. The story follows the basic themes taught by Raymond M. Alf, an extraordinary teacher of facts and values and one of the premier paleontologists of the twentieth century. It will utilize some of Ray's own artistic renderings in its portrayal.
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Science and society focus overwhelmingly on the fatalistic aspects of Alzheimer disease. In describing the disease adjectives such as awful, dire, terrible , and devastating are frequently utilized. The brain is depicted as being under siege as its normal function is stripped, ravaged, and destroyed. The Alzheimer's patient is perceived of as doomed, sentenced to years of senility, craziness, and even madness. It is expected that the victim's family will also languish, becoming depressed and without hope as they combat feelings of helplessness, resentment, and fear. Furthermore, with limited options for caregiving assistance, predictions of physical exhaustion, illness, and financial bankruptcy are often accurate.
Amidst all the studies of the debilitating effects of Alzheimer disease, how does one even begin to imagine that there might be gifts? It is my belief that Alzheimer disease manifests in the vacuum between socially mandated roles and passions of the soul. As such, what might this particular illness be trying to get American culture to pay attention to? What design does forgetting have in the Information Age? What role might Alzheimer disease play in the evolutionary scheme of human development, and what purpose might there be to an individual and his or her family as they endure this unique disease?
Storytelling is a powerful tool for illumination. Illumination can lead to a change in perspective, which is why archetypal psychologists ask "What's it like?" This question dives into the soul of the matter, and when one listens closely enough, psyche's voice can be heard. The ability to change perspective is the greatest gift imaginable. With this ability, questions posed about American culture, forgetting, human development, and personal gain regarding Alzheimer's can begin to be answered.
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Cheju Island is a land of living myth, where 400 simbang (shamans), 500 shamanic myths, and 300 dang (village shrines) exist. The Cheju Island myth, which literally means "unwinding the root," is periodically sung and danced in a ritual called gut . The gut, which unfolds an entire cosmic drama from the beginning of the world to the present, gives palpable experience to the web of life in which the Cheju spiritually and psychologically locate themselves. The gut also assures their cosmic identity. The ritual is a liminal phenomenon. In addition, symbolic and mythic living and seeing the world are deeply embedded in the Cheju people's daily lives.
The inhabitants in Cheju see the image in nature from which the story spontaneously unfolds. Most mountains, trees, rocks, and places have their unique stories. Through storytelling, their truer nature comes alive. The Cheju world is an intricately woven tapestry with the warp of time and weft of space, crafted in the imagination and embodied in its stories.
Previous research and fieldwork, both socio-anthropological and ethnographical, have found that the Cheju are an egalitarian, "neither sex dominant," and "non-hierarchical" society. This dissertation's fieldwork-based research inverts previous observational and interpretative methods, and searches for deeper meaning functioning in the background of this unique culture. It does this through a symbolic-psychological analysis of the major myths of the Cheju: (1) the Zoomorphic Snake god/dess(s), (2) the female inseminator, Yôngdûng, and (3) the Cosmogonic god/dess Sôlmundae.
The common threads woven through the three God/dess myths are clear space orientation, the significance of the root metaphor, periodical returning to the ritual, oral tradition, and the "communitas." These essentially merge into the attribute of symbolic mythological thinking, and are the primary ingredients of the unique Cheju culture.
Cheju is a post-industrial society influenced by both oral and written thinking. It is a protected and preserved culture with a holistic way of living, and where egalitarianism is a deeply embedded mode of being and thinking.
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Within new technological innovations such as cyberspace, cloning, artificial intelligence, age-defying bio-pharmaceuticals, and the melding of humans and machines dwell powerful mythological fantasies. This work invites one to be imaginatively involved in the phenomena of new technologies by eliciting the images and stories that dwell therein. Such action may be defined as the adoption of a metaphorical perspective, the building blocks of which are the disciplines of depth psychology and mythology, which are further informed by a postmodern, phenomenological method.
Comparing the archetypal content embedded within several of the images and fantasies of techno-society to corresponding images within preceding mythological-ritualistic cultures reveals that many new technological products are literal, synthetic manifestations of mythological visions such as unity and redemption. So, even though the field of technological advancement is commonly considered to be based on rational, logical, scientific, and objective principals, spiritual pursuits are the undercurrents of its identity and purpose and drive the nature of its development and rapid growth.
However, the spiritual problems which humanity relies upon technology to solve in a literal fashion result in illusory solutions and simulated experiences. They transform the mythological vision into a literal product and bleed the imaginative element from the psychological or spiritual challenge. It is necessary, therefore, to begin conceiving both the brightness and the shadows of twenty-first century technology in a new way, a way that acknowledges the depths of its roots and the expanse of its influence. For although the blatant risks in some applications are readily acknowledged, it is perhaps where technology is most highly lauded that its purpose is compensatory to a deficit that resides within the collective psyche of the culture. As remarkable as new technologies' capabilities may be, it is the myths behind them that are the shaping agents of the future.
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Traumatized and dismembered by ovarian cancer and the removal of my internal female organs, I followed a healing path that took me from the deep darkness of loss to a healing consciousness, through drawing and painting the images in my dreams.
This heuristic production-type dissertation is divided into two parts. The first part presents a theoretical discussion of how a person may respond to a diagnosis of cancer, or any other serious, life-threatening illness. I explored the journey to healing by attending closely to the images emerging from my unconscious in dreams and in active imagination. Subsequently, I investigated and searched further into these images and symbols as drawings and paintings, presented to me as gifts from the unconscious.
In this work, I discuss these images and symbols from Jungian, alchemical and mythic perspectives, while I investigate how my roles as artist and feminist have shaped my experience. In addition, I pay close attention to what the medical community, both allopathic and alternative, have suggested on the subject of healing from serious illness.
The second part of this work consists of an illustrated memoir, a retelling of the autobiographical events that are the foundation of this story. I illustrate eighteen archetypal symbols from my dreams and search out their meaning during their emergence, as well as in analysis, throughout the writing of this dissertation, and into the present as they continue to unfold as living presences.
My journey through the unconscious presents for consideration the very real possibility, in fact the likelihood that the remnants of ancient mythologies lie buried within the images revealed in the unconscious. Further, I propose that the discovery of the myth each of us is living can be a cathartic, life-saving event.
This dissertation demonstrates how a fascination with mythology and depth psychology can become a practical tool for discovery and recovery from serious illness when a mythopoetic interpretation, a significance, is given to the events in one's conscious and unconscious life.
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The proposed hypothesis of this study is that establishing a relationship with the world-other-than-self heals narcissism. The relationship between the ego and Self is proposed to mirror the relationship the individual holds with the world-other-than-self. The world-other-than-self is the means by which Self communicates to the individual through objects, people, and nature.
"Cultural structures" such as myth and art help to bridge the separations between individuals, the culture, and the natural world as human beings experience it. Book 3 of Ovid's //Metamorphoses// provides the means for an integral approach to the relationship the individual shares with herself, the other, and the larger community. The myth of Narcissus and Echo especially is conceived of as an object that, once listened to, reveals a meaningful connection to life. The core theme of loss reveals the grief at play in the individual's relationship to the world-other-than-self.
A phenomenological perspective replaces a seemingly isolated experience of life with one that reflects relationships with the world-other-than-self. Reciprocal relating heals the individual and the Earth. To know the world, one must discern distinct boundaries and simultaneously open oneself to experiencing it. The consequence of this opportunity is that communion and communication may arise in an authentic relationship. For the individual, discovering the dynamics that establish the narcissistic aspect of oneself initiates a process of Self awareness that creates life as a meaningful dialogue.
Through language and the story of suffering as we perceive it and speak it, narcissism is revealed as a potential root of awareness of the very meaning of life. The recovery of meaning in this particular myth establishes a relationship, direct and sustained, to the cyclic nature and rhythm of life and death.
"Cultural structures" mediate experience and meaning for the individual. The production of three artistically rendered medicine chests, each related to the themes explored in the study, affirm that inspiration is available to the narcissist who is willing to breathe in loss and the accompanying grief of an individual, cultural, and environmental experience in profound need of healing.
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Dancing can expand human perception beyond the limitations of the empirical mind, tap essential ingredients of tradition, myth, and culture through somatic and creative memory, and help humans to reintegrate body, mind, soul, and spirit in the individual and in society. From troubadourism and the advent of couple dancing, through the dance epidemics of the fourteenth and later centuries, and finally to the international folk dancing of the present, communal/recreational dancing has offered people ways to participate actively in creation as personal, cultural, and social expression. Folk dancing is seen as recreational in the sense that it can re-create human experiences of renewal and of interelatedness with each other, with nature, and with the world at large.
Dance, with an emphasis on those communal and recreational forms known as folk dance, is explored in six interconnected ways: as a source and essential force of creation or manifest existence, as a sense perception, as a metaphor for intersubjective relating between invisibles and humans as well as between humans, as a destructive force, as a form of memory and container for knowledge and tradition, and as a re-creational tool for the renewal of perception, religion, and culture.
Myths of dancing as a force of creation, as well as my own experiences dancing in the United States and southern France, inspire this heuristic study. The work is grounded in mythological perspective and archetypal theory. It relies heavily on the philosophy of hrdaya from Tantric Shaivism and on the myths of Dionysos, and recalls the erotic nature of living and dancing. Depth-psychological perspectives are woven through phenomenological philosophy for the sake of stretching the imagination far enough to notice elusive aspects of the role that folk dance plays in human understanding and culture.
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The mandala is the ultimate symbol of the power of the mind to heal itself through the mythic imagination. Signifying "abode of the sacred essence," the mandala contains the totality of myths arising from divine source that determine Self-realization.
My study explores the views of the mind's transcendent path as expressed in mythological studies, Western Psychology, and Tibetan Buddhism. In particular, I examine how the Buddhist notion of emptiness leads to a state of bliss through the union between the relative, temporal mind, and the absolute, infinite mind.
In the mandala, order is imposed upon the chaos that afflicts the relative mind, through the combined principles of organizing and centering. The sorting out of anarchic thoughts begins with the "squaring of the circle," which divides the mandala of the mythic mind into the cardinal directions and their intermediate points. At the same time, the magnetizing center of divine power draws the attention of the mind into its vortex. The ever-quickening spin of the centripetal action expels the impurities that cause suffering, and distills the mind to its pure essence.
The evolutionary path towards genuine happiness is exemplified in a triad of mandalas: Womb, Fortress, and Diamond. Collectively, the mandalas mirror the purification of the physical, mental, and spiritual realms, typified by the acquisition of knowledge, moral discipline, and concentration upon the still point of the center. The essence of the center is emptiness, which is the immortal life force of all manifestations that are made visible through the limitations of time. Abiding at the mythic threshold of immortality, the relative mind is set free from conventional time and flourishes in peace and joy.
The production component. //The Veil Mandala// is a pictorial depiction of the Great Delight mandala. The three panels entitled the Womb, Fortress, and Diamond mandalas, illustrate the mythical and alchemical transformations of the mind towards Self-discovery. The awakening process moves from gross perception of matter to a subtler view of the structure of the mind to the subtlest realization of emptiness. Ultimately, the totality of the Great Delight mandala reflects emptiness as the progenitor of all creation.
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This dissertation is a method of ascertaining and exploring a shamanic heritage in the Euro-Western cultural tradition in order to give definition to the postmodern and post-postmodern neoshamanic movement in the United States. The neoshamanic movement has a threefold focus: religious mysticism, holistic healing, and the intentional evolution of consciousness. It is part of a wider landscape of transformational forces creatively taking shape in America from beyond the borders of institutionalized religion and science.
The human psyche is infinitely creative and it is that creativity, ultimately manifested through consciousness, which defines us as humans. From simple tools to technologies, and from the earliest narratives artistically and imaginatively expressing belief systems, to institutions that define and manage these systems, the human psyche is an amazing and ever-dynamic creative force. By following an imagetic and culturally innovative trail that imaginally forms a serpentine path, this study tracks the process of a shamanic archetype first envisioned by our Cro-Magnon ancestors and artistically inscribed on the walls and passageways of sacred Franco-Cantabrian caves.
Using the analogue of a vine emerging from this primordial root, tendrils springing from this vine are followed as they mythically twine through images and narratives of Dionysos, Orpheus, and Jesus, and then, are identified once again, as they shape shift into contemporary neoshamanism, dissolving boundaries and bringing the moist, creative fluidity of soul to a dry, arid culture. By integrating the lenses of mythology, depth psychology, consciousness studies, philosophy, and religious studies, an interdisciplinary tapestry is woven from this universal pattern. Concurrently, it has been impossible to disassociate the imaginal and mythological path of Euro-Western shamanism from the inception and expansion of human consciousness, with which this dissertation engages in a parallel narrative.
Shamans and neoshamans are both driven by representations of the same archetypal pattern appearing before the mindscape of consciousness. Neoshamanism, while gathering together an agglomeration of mystical religious techniques, rituals, and healing practices from other cultural traditions, asks to be centered from within its own cultural matrix in order that a newly emerging worldview, a new myth, can be linked within the collective American psyche to an already existing tradition.
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Journeying has been a part of the human imagination and human activity since the beginning of history. This study investigates the many faces of travel and travelers who seek to discover and understand the affective connection between psyche and world. It considers travelers as phenomenologists, who may set out with modest goals of touching and being touched by the physical presence of a city or landscape, but who then suddenly find themselves escorted to the imaginal space of a multidimensional world.
The traveler who is an explorer, a seeker, an "indigene of the imagination," searches always for the historical and cultural identity in the landscape, reflected in legends and folklore that map the cosmic order. Travel and reverie are modes of imagination that interweave the imaginal with the real, the novel with a sense of déjà vu, the mythic with the mundane. The world created through imagination and memory has a continuous terrain, a coalescence of diverse landscapes, cultures, and images we have experienced through art, literary works, or physical travel.
In this study, image, memory, and imagination are investigated by weaving mythology, phenomenology, depth psychology, and aesthetics with research sources that include travel literature, poetry, fiction, film, and the literature of landscape.
The world may be conceived as a metaphor for the psyche, and images of particular places may be conceived as expressions of psyche to be explored. Photographic, painted, or literary images serve as opportune catalysts for reverie, a mode of active imagination. Images examined in this work include William Wordsworth's reflective poetry of place, Ansel Adams' evocative photography, E. M. Forster's literary images of India and Italy, Leslie Marmon Silko's mythic images in the novel, //Ceremony//, and the paradisiacal images in Mike Newell's film, //Enchanted April//.
The notion of landscape is explored as an image in landscape painting, as sacred space, and as a partnership between nature and human. The healing qualities of beauty and place are explored through the archetype of the garden, and the sacred landscape of a Native American ceremonial journey.
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This theoretical dissertation offers a hermeneutic approach to classical myths. It studies the progression of cultural consciousness displayed in ancient myths of the mono-hero, to a modern literary example of the poly-hero. The dissertation exemplifies the //Harry Potter// series as one modern example of a poly-heroic team. By using this “team” of friends, //Harry Potter// presents themes that reflect an emerging spirit of communal bonding. The purpose of this study is to show how the new focus on four heroes in contemporary literature reflects a shift in consciousness. In this way, the dissertation argues that stories of the mono-hero have been transformed into present-day stories of the ploy-hero.
The major ideas expressed in the study consist of four aspects. First, the dissertation tracks the chronological transformation of mono-heroism to poly-heroism. This transformation includes examples when the hero makes a movement toward a compassionate awareness. Second, the number of hero’s moves from one to four as seen in the //Harry Potter// novels. Third, the four //Harry Potter// heroes offer representations of ancient archetypal themes which include the classic hero, the fool, the wise feminine, and the archetypal healer. Fourth, the focus on the number “four” within these books is significant beyond the archetypal figures. The number “four” suggests further importance with regards to Depth Psychology, Sacred Geometry, and Alchemy. The major ideas presented in the study propose that the old and new elements of the //Harry Potter// series are a contemporary interpretation of archetypal motifs, and epitomize a shift in the collective psyche toward multiplicity.
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Since the publication of //Faust, a Tragedy// in 1832, critics have lauded Goethe's masterwork with innumerable accolades. C. G. Jung, for example, refers to it as "the grandest work of alchemy." //Faust, Part One//, however, contains only ten lines dealing with alchemy, while alchemical allusions in //Part Two// are predominantly comic, whimsical, or utterly bewildering. In what sense, therefore, is //Faus//t a work of alchemy at all, much less "the grandest"?
Jung viewed alchemy less as a hopelessly misguided effort to magically convert base metals into gold, and more as a metaphor for spiritual transformation, a process he referred to as "individuation." The core of the alchemical project-the "central idea"-was, according to Jung, the //coniunctio// or union of opposites, most commonly symbolized in medieval alchemical texts as a marriage between a male and a female, often royal figures. Jeffrey Raff, in //Jung and the Alchemical Imagination//, has refined Jung's notions of the coniunctio and carefully laid out three successive stages of the transformation it promotes.
I argue that these three levels of the //coniunctio// are exemplified in //Faust//, thus marking it as an alchemical work, at least by Jung's definition. In //Part One//, Faust joins with Margaret/Gretchen in the first, "earthly" coniunctio , which takes place on a worldly plane. In //Part Two//, he unites with the mythic Helen of Troy in the second, "psychic" coniunctio , the realm of imagination. //Faus//t ends with the protagonist in the heavenly presence of the Mater Gloriosa. This is the third and final //coniunctio//, the "angelic" or "spiritual" sphere, which Raff designates as "psychoid."
I demonstrate, additionally, how Faust undergoes a convincing color change, from black to white to red, to epitomize a fundamental feature of alchemical progression dating to its origins in Greco-Roman Egypt. The poem further exhibits the alchemical features of patience and perseverance, gradual spiritual transmutation, and, hidden in the last scene, complex alchemical clues. I conclude that //Faust// does, indeed, represent a great work of alchemy, if not "the grandest," and that it embodies Goethe's vision of a world animated by love and, ultimately, devoted to sexual equality.
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Jungian analyst Polly Young-Eisendrath describes the mythological character of Pandora as an object of male desire. She sees her as a representation of a woman who denies her own needs in order to comply with the demands and desires of others. But why did the archaic poet, Hesiod, find it necessary to create the first woman—a new woman, really—in the first place? What possible influence did the creation of Pandora have upon the people of the archaic and classical eras? How can the myth of Pandora be understood as a metaphor for psychological growth? And if mythemes of the myth are alive within the contemporary society, where are they found? The answers to these questions comprise the bulk of this dissertation by examining the myth of the first woman from various points of entry and using a variety of lenses, including anthropology, history, literature, depth psychology, and sociology, in an attempt to deepen the investigation of the first woman of ancient Greece.
Double entendres pervade the myth of Pandora, creating an intricate web of meaning that reveals a society in disarray. Hesiod writes at a time when the earth cannot sustain the ever-expanding Greek population and human survival is at risk. Pandora, the most beautiful and sexually tempting woman ever created, symbolizes what men must avoid in order to quell the social upheaval: women. In other words, the myth of Pandora acts as a rudimentary form of birth control, fashioning women in an evil light and shaming their appetites for food and sex.
The influence of Hesiod's myth trickles down into the classical era. Even today, mythemes of the myth hide in social customs as evidenced by the certain double standards for adolescent girls and conflicting messages of sexuality sent to young women by authority figures and the media. These inconsistencies create a difficult and confusing transition for many adolescents, often manifesting as an obsession with body weight and low self-esteem.
The myth of Pandora closes with hope clinging to the rim of the jar from which the evils escaped. By expanding and re-imagining the story metaphorically, genuine ways to transform the repression of women's appetites can be found, releasing hope for the future and bringing women and men into closer alliance.
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Over the past century, cinema has steadily deepened its stronghold as the foremost venue for the myths and transformative stories of our time. Although films vary in the depth of the mythic experience they provide, the impact of the institution of cinema on individuals and culture is profound.
Of the many theories formulated to explain aspects of film's impact, all point toward deeper insight into what is termed herein mythic quality . As a lens for exploring this deep experience, the mythic quality of film can be seen to emanate from four dimensions: the diegesis, the moving photographs narrative form, the cinematic form, and extrinsic influences. In each of these dimensions exists a number of specific elements which compound film's mythic quality and strike chords of resonance within the deep realms of the psyche.
The realm of the diegesis, the story itself, takes into account Joseph Campbell's hero's journey and Aristotle's poetics and is the dimension whose impact is most commonly considered. The impact of the moving photographs narrative form derives from elements such as camera angles, montage, and the ideologies inherent in the film apparatus. The dimension of the cinematic form accounts for the impact of the quieted, communal setting of the darkened theatre and the projection of an image of reality onto a giant screen. The two major extrinsic influences are movie stars and the impact of technology and marketing and distribution strategies.
Film's mythic power is finally seen to be derived from the mysterious alchemical marriage of feminine and masculine energies but is nevertheless dominated by patriarchal ideologies. Although the prevailing venue for contemporary culture's myth, film falls short of the vitality found in such past rituals as the Eleusinian Mysteries and the original Eucharist. For film to fulfill more deeply what is possible in its role as the source of contemporary myth and ritual, a shift in perspective is necessary. An honored space must be made available for it to express itself as subject, and that expression may provide ever deeper and more meaningful experiences for its audience.
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As increasing numbers of women enter what are viewed as the crone years, interest in this ancient female figure is on the rise, often with little understanding of the primal, feminine-identified power that is being summoned forth. With roots in a prehistoric Goddess-ordained cosmology in which life dies into and is reborn through a generative, albeit mysterious, darkness, the Crone is the regeneratrix, destroying in order to create. My study focuses on questions designed to explore what releasing the Crone's mythic role as death-bringer into the imagination might mean to an experience of aliveness for contemporary women. How might a goddess of death serve life? The methods of archetypal psychology, alchemical hermeneutics, and feminist studies are used to reveal the Crone through the perspectives of mythology, culture, and depth psychology.
With a particular focus on Celtic mythology, my study traces the Crone's once indispensable regenerative function as death-bringer in cyclical, nature-based traditions through to her sublimation into corrupt female figures when death is re-imagined in later heroic and monotheistic mythologies. A cultural perspective is explored to surface challenges to identifying with the Crone in Western patriarchal culture that fears death, diminishes embodied ways of knowing, and sees little value accruing with age. As an image of destruction, the Crone is studied from a depth psychological perspective as a regeneratrix who initiates change through death-like experiences.
Weaving these three perspectives together, my study finds the Crone to be a mode of consciousness that values endings and completions. While death remains the ultimate mystery, recollecting the death-Crone as an aspect of the Goddess-ordained creative matrix in which life/death are inextricable can be an imaginative means of deepening our experience of embodied life. Death-like experiences of change and loss may be imagined as occurring within the regenerative, though disconcerting, darkness of the transformative Goddess. Psychologically, this means submitting to and trusting in these experiences as essential to the renewal inherent in life's natural flux. Women who are consciously aging are found both to be challenging Western epistemologies that denigrate the feminine and dissolving cultural forms of sexism and ageism that marginalize aging females.
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Modern women almost always take their valuables and essentials with them in purses when they leave their homes, but psychologically, what are they actually reenacting with such ritualistic consistency? One theory of this hermeneutical discussion is that earlier historical feminine rituals are unconsciously reflected in today's purse behavior. Because Western culture has devalued and underrated characteristics of the archetypal feminine, the repressed, but not lost, archaic traits of the feminine just may be symbolically stuffed away in the shadowy recesses of the purse, waiting to be reintegrated into feminine consciousness.
Hestia was primarily the contained essence of each Greek home, and perhaps the modern purse as a psychic vessel of the feminine is related to this goddess's archetypal realm. Through the purse's Hermetic connection, the Hestian vessel is able to leave the home and be carried into the world, even though mythically, Hestia never wanted to leave the protected interior under any condition. Even when Dionysos wanted to be admitted to the Greek Pantheon, Hestia gladly relinquished her royal position because she simply did not want to be out, known, or exposed. In many ways, this act put the Goddess Hestia in the role of the thirteenth fairy, the uninvited, unacknowledged guest. We must ask ourselves when Hestia retired herself from view, what became unrecognized in the essential feminine nature?
Through the patriarchy's steady devaluation of the feminine, the contemporary woman has lost her quintessential, central core, which should be carried inside of her soul, unseen, like Hestia's ember. Instead, she carries something representative of her sacred nature on the outside, on her shoulder or in her hand, as she leaves home gripping her purse. The authentic feminine essence of the modern has been stolen, and her purse behavior has become an abstraction of her lost powers, an aberrant behavior, which manifests from the patriarchal culture's pathology. Because her interior world has been so dishonored, today's woman has extroverted what's left of her value by carrying her essence in her symbolic sacred container, her purse, in much the same way as she dresses for success by attempting to measure up to the patriarchal values.
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The first challenge in finding one's myth is to locate a starting place. This dissertation approaches that challenge from the locus of memoirs of literal and imaginal ancestors, as well as through phenomena experienced autobiographically in relationship to that process.
Why is it important, indeed essential, to seek out one's myth? This is the primary research question. It is addressed by considering examples of myths and how they are carried in and through lives, and by looking at symptoms of disconnection with a central myth. The hermeneutical method is employed to attend to the multi-leveled information in the body of this production-type dissertation.
The four central chapters of the work are narratives created from researching hand-written journals and letters passed on by three of my female ancestors: a woman who circumnavigated the globe three times in the first quarter of the twentieth century; a woman whose life of labor on the farm was understood as part of a divine Christian plan; and a woman whose myth was crystallized in her final words: "I play the violin."
To stretch beyond these whose culture was dissimilar but contiguous with mine, I sought a fourth ancestor. She found me through a phenomenon which eventually called me into a tribal initiation in sub-Saharan Africa.
As myth enables us to relate to our external and internal universe, story plants, nourishes, and brings myth to fruition. In this dissertation, journals, letters, artifacts, pictures, oral traditions, and my own experiences are used in creating story. As a composer would write for various musical instruments, I have listened for the quality of each voice, for its specific range of melodic and harmonic potential. My task has been to seek out the possibilities, live with them, hear them in combinations not heard before, and produce a work which may provide a healing resonance for those who choose to listen.
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The primordial motif of death and rebirth has remained a constant in myths of otherworldly journeys. Ancient spiritual texts portray the posthumous journey of the deceased following death. Arrays of resurrection myths describe mythological figures and descents to the underworld, ascents to celestial realms and encounters with heavenly or dark deities. Resurrection is the central archetypal motif in the myths of dying and resurrected gods, which symbolizes the germ of life existing in a possible afterlife state, often reflected in analogies reflecting cycles of the natural world.
Although human consciousness has evolved over time, the mystery of death remains beyond rational perception. Inquiring whether death may be a transition to rebirth requires looking back into the universal language of myth that contains recurrent archetypal patterns. This dissertation will be conducted from a hermeneutical-phenomenological exploration of the archetypal and mythological essence of the near-death experience (NDE). Seen from an archetypal perspective, the belief that the motif of death and renewal from ancient world mythologies appears to manifest in the altered states of consciousness of contemporary NDEs suggests the same primordial patterns remain in the collective unconscious of humanity. The core components of the near-death experience suggest a numinous psychic content that encompasses a timeless, eternal quality. Encountering the archetype of the "self," often projected through a sense of merging and unity with "God" in many different guises, which purportedly takes place during such an experience, may also validate Jung's theory of archetypes.
The hermeneutics of myth involves collecting universal myths and giving the symbolism a voice. In this way, it is possible to immediately understand and interpret the parallels that reinforce primordial motifs. This dissertation concludes by asking: does the NDE, currently manifesting in many different cultures, present an example of a modern-day myth for conscious living and dying? The ever present anxiety surrounding death may be alleviated by the symbolic content of the mythological near-death journey, which changes perception of reality and provides an illumined wisdom to enrich our myths about death.
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The purpose of this study is to critique the work of a mythologist, Joseph Campbell, a literary critic, Northrop Frye, a fiction writer, Mark Twain and a depth psychologist, C. G. Jung in order to discover the underlying assumptions about life which influence these authors' lives and the lives of their readers.
Joseph Campbell's four functions of mythology are expanded to include a distinction between orthodox functions and heretical functions of myth. Campbell's mythological formula, the "monomyth," is shown as a construct that subtly imposes its dogmatic frame of reference by insisting that a certain kind of heroic journey is universally recognized as the path of divinity and highest form of individuation.
The critique of Northrop Frye's theory of myth is an attempt to challenge the notion that his is "a rational account of some of the structural principles of western literature." This study will argue that Frye's "structural principles of literature" are instead an accurate description of western literary orthodoxy, an orthodoxy that, by definition, cannot hear the voice of "heretics" who do not view life through the filters of this world order.
Mark Twain's two novels of boyhood, //The Adventures of Tom Sawyer// (1876) and //The Adventures of Huckleberry Finn// (1884) provide examples of the distinction between an orthodox novel and an heretical one.
The concept of divinity which is described by C. G. Jung distinguishes between God and "God-image," a distinction based upon Kantian philosophical perspective. This study will attempt to show how much of Jung's "God-image" was influenced, not only by Kantian "categories of knowing," such as time and space, but by Jung's culture, religion and historical circumstances. Additionally, his personal relationships with his mother and father and his relationship with Freud affected his image of divinity.
It is the unending task of individuals and human collectives to become increasingly conscious of the mythologies we live in. The greater our awareness, the greater our capacity to chose the manner in which we participate in them. This dissertation is in the tradition of the humanities, whose task it is to revisit and critique all assumptions regarding what is a lived life or a wasted life, an individuated life or an unindividuated one.
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The divine blacksmith Hephaistos, "famed for his craft," is the Greek god of art and technology. Born clubfooted and cast at birth from the heights of Olympus by his mother, Hera, Hephaistos is the only cripple among the Olympian gods. Later returned by the order of Zeus, "father" of the gods, who has need of his skills, Hephaistos is said to be the only Olympian who works.
This work presents Hephaistos as representative of the archetype of the maker, a mythic image that has become fragmented. Whereas contemporary cultural norms image the artist and technologist as having divergent aims and values, the examination of Greek and other myths undertaken as part of this study shows that they were anciently connected, and revered, as aspects of the same archetype.
This research traces the beginnings of the changes in the cultural meanings of the archetype of the maker that have resulted in its fragmentation, as discernable in two mythopoetic themes. One is the "wounded artist," exemplified in recent depth psychological writing that depicts Hephaistos as emblematic of the "mother-wounded" and thus psychically impaired creative masculine. The second is "monstrous technology," seen in recent works of fiction and cinema that identify the Hephaistean archetype with the dangers of technological hubris and with the "military-industrial complex."
The archetype of the maker is initially discerned through an examination of the meanings of relevant Greek terms. These include technê , meaning "practical knowledge" and the root of the word technology ; and mêtis , meaning "cunning intelligence," or "intuitive knowing." Hephaistos embodies both ways of knowing. Examination of the terms poiesis ("making") and ekphrasis ("poetic description") establishes the field of making as encompassing both the production of material objects as well as poetic making. The Greek root-words of mythology, mythos and logos are shown to have changed meanings between the time of Homer and Plato such that a groundwork is established for understanding the historical origins of the fragmentation of the image of the maker.
This study concludes with a depth-psychological examination of the constructive purposes of myth, and examples of contemporary re-mything of the archetype of the maker.
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It is the perspective of this dissertation that the source of creativity is the human imagination. The creation of a corporation is a creative process that also has its origin in the same imagination. Every corporate story begins with an idea that becomes an expanded and shared vision, but before that vision is well shared, much less completely implemented, the organization must pass through a developmental process that is similar to all human development. In this sense, the growth of a corporation can be seen as a mythic journey. This dissertation will explore how the Hero's Journey delineated by Joseph Campbell might be used as a lens with which to view the corporate environment and gain insight into how corporate culture might be better understood and improved upon through the use of this model.
This study provides a working hypothesis for organizational change that includes and supports the process of individuation as described by C. G. Jung. The work compares the stages of the psychological drive theory or 'metamythology' of C. G. Jung (hunger, sexuality, activity, reflection, and creativity) with the stages of the Hero's Journey (the call, initiation, activity, breakthrough, and celebration). Organizational change must be preceded by change first in the individual. As such, the process of individuation, described through the use of storytelling, can create a temenos whereby individual and corporate story can be mutually supportive. The fundamental truths that have guided individuals for millennia can also be utilized to drive organizations through the use of myth. The belief that the use of mythic story within organizations has both the power and potential to transform current corporate culture guides this theoretical work.
An examination of the stages of the Hero's Journey through the lens of C. G. Jung's metamythology is undertaken with practical examples from organizational life. Firmly rooted in the disciplines of mythology, depth psychology, and organizational development, this dissertation presents a methodology by which an organization may be transformed by creating a corporate culture supportive of both individuation and corporate innovation.
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The purpose of this work is to examine the soul and its primary archetypal movement—the movement that I am calling leave taking—in literature, poetry, mythology, and depth psychology. Often researchers and writers in these fields speak of leave-taking only in terms of its unpleasant consequences and emotions—the sequelae of, among other leavings, illness and death, grief, divorce, separation, and isolation. Few seem to have noticed that there might be something in the partings and separations—the leave-takings—themselves that is soulful and soul-building, archetypal, and pregnant with meaning if only the leavings could be held more gently, examined and followed, rather than seen as problems to solve or surmount.
I have called this movement leave-taking, because it is as if the soul is always, and in all ways, drawing oneself away from a place of physical and/or emotional comfort, clement familiarity, relative safety, and instead plunging one into situations filled with potentially great risk, terrible psychic danger, and utter confusion. To leave one place for another is to leave the known and the comprehended for the unknown and the never dreamt of. The leave-taking movement of the soul virtually defines life and living, in fact leaving the safety and comfort of the womb is the first activity of a life in the world, the first experience any of us has of our elemental nature, of our humanness. One's birth is simply the first egress of a lifetime littered with leavings.
In this work I will examine some of the more persistent and enduring ideas about the qualities of soul, and examples of the soul's connection to leave-taking will be interposed. An examination of the leave-taking dynamic present in depth psychology, mythology, and literature will follow and help to demonstrate the ubiquitous, embedded nature of leave-taking in these areas of human concern.
Finally, I have composed a small volume of original poetry to accompany the theoretical portion of this work, which approaches the theme of leave-taking in ways both explicit and implicit.
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By deciphering a pattern to the soul's journey over historical and even prehistorical time, this dissertation unearths the fine impressions left by the footfalls of soul, to divine where soul is today and where she may be leading us. The body of this work traces the soul's wanderings from her birthing into human consciousness to her apparent absence from our industrialized and technological world today. It names, defines and creates a topography of the soul's exile and speaks to the telos of the soul's journey as the evolution of human consciousness and as the conjunctio of the individual soul with the soul of the world. Working from a survey of stories—mythological, philosophical, historical, psychological, and scientific—this study leads her reader to imagine that the soul's presence in the world today, paradoxically, is felt as her absence. Therefore, the notion that soul is both in exile and at home in the world has provided the springboard from which I entered this work on the soul's opus, challenging me to think about the soul anew, from the perspective of seeing exile as soul.
This study also understands that historically the soul has moved toward psychic integration in two ways: the first is the hunter path, which moves outward into the world in its bid for conscious union with the world at large; and the second is the planter path, which moves downward into self, in its desire for self-actualization. This study, however, finds that either path alone is only partially instructive of the way home. We have gained enough perspective of the human journey to recognize, if we wish, that the two paths of being ensouled are two sides of an archetypal whole; that each path has been experienced historically and predominately in exclusion of the other; and that each has been largely forgotten, repressed, demonized or dismissed. If, as Jung understands, birthing a "new level of being" requires a confrontation of opposites, and if our conscious participation is what soul inevitably longs, then the path home may very well be the path into exile.
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This dissertation is a co-creative inquiry with children into the vital, mythopoetic relation between Story and Imagination in Childhood. As a cultural intervention production, it explores directly the ways in which children learn who they are and who they, and we as the human family, are to become. Imagination is pre-eminently the realm of the child, and meaning-making in humans is innate: we each story ourselves into being . As children live along the ecological boundaries between the collective unconscious and consensus reality, theirs is yet a world of poetic possibility.
Utilizing theoretical analysis of writers that include James Hillman, C. G. Jung, Thom Hartmann, and Edith Cobb, as well as personal narrative derived from forty years of Montessori work with children from around the world, I have developed an applied research which advances a mythopoetic view of Childhood's intuitive connection to the soul of the world. It questions the consensus reality regarding Childhood from several vantage points: when we invite children to actively and authentically engage with the natural world in their process of storymaking ( mythopoiesis ) and storytelling (narrative), and when we empower them to engage playfully in imaginal worlds of humanity's past or present, what are possible insights and creative outcomes? What timeless stories need re-visioning? What new stories need telling?
The production portion of this work, including a narrative CD and a Video Pilot and three Folded Spiral books, focuses on children as meaning-makers within a specific application of Thom Hartmann's profound and prophetic metaphor for ADD/ADHD: "Hunters in a Farmer's World." My "Imaginary Islands" project affords insights into the ubiquitous "Hunter/Farmer" paradigm and suggests further research toward re-visioning the dynamic role that Imagination's Childhood plays in storying our world. My conclusion: adults are called as elders to consciously honor children's capacity for world-making and meaning-creation. For the sake of a viable future, we deeply need their sense of wonder and their gnosis , their stories, and the re-enchantment their stories bring to life.
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Jung defined individuation as "the process by which a person becomes a psychological 'in-dividual,' " ( CW 9 i, 275; par. 490). The term process implies that this is a consistent pattern of humanity, which Jung termed archetypal. The production piece of this study is a book on screenwriting, called Inside Story , which illustrates that it is possible to use the archetypal pattern of individuation to map the progress of the protagonist in a dramatic structure. As a script analyst in the film industry, I have found that when stories integrate this interior line of structure, called the transformational arc , they not only express more authentic characterization, but they naturally expose both writer and audience to greater levels of personal and collective consciousness. This would indicate that story is not the passive experience it is often considered to be, but that it is an essential activator of psychological development. It may, in fact, be how the human mind comes to know itself.
The theoretical analysis of this dissertation examines how, from the first moment of conscious awareness, the human life is enstoried in what Paul Ricoeur has identified as the circle of triple mimesis in which humans constantly make the move from action to story and back to action again. As a result, human existence is a quest to know its own story. People create story as a means of understanding who they are, why they are here, where life is taking them and how to cope with its uncertainties. But story also has an autonomous function, in that it seems to pull the individual and the culture toward its own pre-existing goals. These, goals not only follow the human pattern of existence, but they also lead humanity to higher levels of conscious development. This dual movement of story reflects the status of the human drama and at the same time projects it onward toward, greater potential.
As a result, it is possible to examine modern stories in light of what particular mythos has captured the culture's imagination and where the culture lives within the myth itself. This study attempts to put aside literary bias and examine the modern story as an autonomous force that relentlessly seeks to unfold new life.
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This dissertation explores the relationship between water and Being, myth and Philosophy through the uroboros, an ancient image of self-referentiality, both self-devouring and self-perpetuating. Thales, the "first" philosopher in the Western tradition, proclaimed water to be the origin of all things. Thales initiated what has been called the sixth century Ionian enlightenment, a moment in the ancient Greek ethos when mythos gradually gave way to the logos of secular, rational thought. Water was the transitional element inaugurating the rift between mythos and logos ; like a river flowing between two opposing banks, this mysterious water partook of both extremes—it was truly mythological water. This water is in fact uroboric water pictured in the myths of cosmogenesis as a world en-circling serpent that swallows its own tail. However, at the inception of Western metaphysics with Plato, this water was thrust into oblivion until it re-emerged in the post-metaphysical, post-modernist era, that began the moment Nietzsche announced the death of God and Heidegger commenced upon his project to deconstruct the history of Western philosophy by reintroducing the forgotten notion of Being.
This uroboric water, this mytho-logical water, displays manifold relationships to Heidegger's thought of Being that the Western philosophic tradition failed to think. This unthought thought of Being takes on body when perceived mythologically through the image of uroboric water, thus reconnecting the lost affiliation between mythos and logos .
Today, the great world en-circler repressed since Plato returns as the Global Uroboros, an archetype activated as a result of the decline of metaphysics and the death of the onto-theological deity, unleashing an ecstatic circulation in the spheres of images, finance, and information technology. This image haunts the history of philosophy only to emerge at philosophy's demise, triumphant, now circulating in the midst of the imbroglio called post-modernism.
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The questions that cosmology seeks to answer are those same questions about the mysteries of the universe that myths have spoken about since antiquity. The basic desire to understand the origin of the universe is equally fundamental in the earliest astronomical, philosophical, and mythic narratives. This work shows how mythic stories can be used as a tool for educating nontechnical audiences. By means of a re-mythologizing of the relationship between Western science and myth, the shared philosophical legacy of both becomes apparent. This review of the history of science, philosophy, and mythology thereby presents a perspective that is pro-myth and pro-science at the same time. By differentiating the mythic perspective and the scientific perspective, the reality of the non-oppositional intimate relationship one has with the other is clarified.
Cosmologists have long known that 96% of the universe is invisible to human sensing apparatus. They call this unseen visible element, the stuff that holds the universe together, "dark matter." Coining the phrase "the speed of dark," this dissertation metaphorically illustrates the power of myth, like the power of dark matter, to inform and direct human inquiry into the origins and destiny of the universe. Myth is imagined psychologically to operate at the speed of dark, faster than the speed of light. The unseen visible aspect of myth is shown as the desire of humans to know the origins of creation and the ultimate destiny of the universe.
This work examines the rich legacy inherited by contemporary scientists from ancient mythic philosophical traditions. Traces of Aristotle and Thales are seen clearly in the questions that current cosmologists explore today. The variety of answers to these questions displays the equal influence of myth on ancient inquiry and contemporary scientific theoretical development. By examining what myth does, rather than what myth is, the work weaves together a story of mystery and discovery that is currently the realm of cosmologists. Myth itself is distinguished from the multitude of myths or mythic narratives. Myth is shown to fuel human desire to glimpse the known, the not known and the unknowable.
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This dissertation proposes that the imaginal dynamic is predisposed to wander. Using the metaphor of a Wanderer, parallels are drawn between the spontaneous unfoldment of the imaginal psyche and that of a Wanderer's departure from the constraints of boundary. In a wandering modus, what appears to be errancy is actually a self-regulatory and generative force. This has paradoxical implications that are central to this study.
This examination begins with an inquiry into the nature of paradox and its relationship to imaginal activity. The nonconceptual realm of the imaginal is recognized as a unified field wherein opposing factions are reconciled. Key aspects of the Wanderer paradigm are featured as the paradoxical concurrence of motion and stillness, and indeterminacy and order.
Speaking metaphorically about this dynamic of psyche, I maintain that, by way of a negative approach, the Wanderer sheds the past to free the present in a discarding of the known in favor of the unknown. Therefore, the Wanderer is presence-based rather than directional, and suggests no evolution towards a wholing process or return.
I offer numerous examples of a static/dynamic phenomenon derived from the East Asian philosophical perspectives of Taoism, Zen Buddhism and Hinduism; visual art, music, and poetry; and mythology, reverie, and individual story; all of which indicate a paradoxical anomaly that is integral to a generative dynamic.
This study advances the notion that //wandering// is essential to the spontaneous activity of the imaginal psyche and that deviation from the linear structure of habit and conditioning is associated with a creative impetus that circumvents inertia. The liminal status of the Wanderer paradigm, as presented in this study, also contests the broadly held view that the wanderer is //lost and aimless//, proposing an alternative perspective to this timeless paragon.
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Many volumes have been written about the soldier's wartime experience, the incidence of Posttraumatic Stress Disorder after his return, and the occurrence of suicide among veterans of many wars. However, the canon of war literature and film pays far less attention to the plight of the returning soldier if he is not diagnosed with a clinical dysfunction. The same is true of the psychological wounding that takes place during basic combat training. The recruit's experience of U.S. Army Basic Combat Training, because of its extremely violent components, often provokes a moral distress that later translates as psychological distress. The deep-rooted resistance to killing another human is stripped away; the trainee, now vulnerable to psychological manipulation, experiences a forced alteration in his ego-personality. This dissertation uses a depth psychological perspective to examine how the lack of a rite of passage for the returning veteran prevents healing of the psychological wounds he suffered during his tour of duty. Healing does not mean the wounds are erased. Healing means a return to wholeness or balance in the psyche. In order to achieve balance in the psyche of the soldier and restore his humanity, the moral injunction against killing, which was removed during the recruit's training, must be reconstructed. Through the metaphorical language of the Egyptian myth of the Lion-Headed Goddess Sekhmet and the torturous journey of Homer's Odysseus, this research suggests how, without psychological balance, a soldier who separates from the service will continue to re-experience the psychological wounding he sustained throughout his military career. The veteran unable to endure the psychological pain and suffering associated with his military experience often turns inward, retreats, becomes reclusive, and tries to defeat a very different enemy with drugs, alcohol, violence, or even suicide. This dissertation reveals the necessity for an extensive re-training for all soldiers prior to their separation from service. This re-training is essential to assuage the destructive forces of the savage warrior and re-establish a positive ego-self relationship within the Psyche of the veteran.
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Jacques Derrida spent a lifetime substantiating that systems and structures inevitably construct and fortify themselves through acts of exclusion, barring that which they cannot fully account for or think. Such acts have formed the very basis of the Western ontotheological tradition that, according to some, has reached its closure in the savoir absolu of G. W. F. Hegel's speculative philosophy. Yet, even at the "end" of systematic thought, something still remains to be thought, which is nonetheless unthinkable within the framework of the metaphysics of presence. This unthought other is mythos and its inescapable relationship to logos . For the most part, philosophic discourse has upheld the founding Platonic distinction between mythos and logos wherein logos is privileged over and against mythos . In the history of philosophy, the neglect of mythos has taken two forms: one in which mythos has been left out of discourse and, by extension, out of logos , and another in which mythos has been denigrated as an inferior, imperfect form of logos that is not yet sufficiently philosophical until, by way of sublation, it will be taken up into the domain of logos and become so. In the wake of postructuralism and within the emerging moment of complexity, the seamy web of mythos and logos must be thought otherwise.
In response to this urgent necessity, this study, through a close reading of selected works of Mark C. Taylor and Derrida, thinks mythos not as a Hegelian other that saturates and merges difference with identity, but as a disseminating, ever-differentiating other other. In part, this involves re-envisioning the relation of mythos and logos in terms of Taylor's nontotalizing network and Derrida's idea of the gift, which this analysis bids be viewed as a (dis)figure of the impossible. Cognizant that thought always contains something that it cannot properly think, philosophy's other ( mythos ) is approached by not thinking within and to the limits of traditional philosophy, thereby exposing mythos as a nonfoundational foundation of logos . As such, mythos calls forth the "able-to-be-thought" ( logos ) and logos gives mythos a form in which it can begin to arrive to thought.
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Speculative fiction, a consolidation of the genres of science fiction and fantasy, is a literature bursting with possibilities. We ride our imaginations to galaxies far, far away with resident aliens that fascinate and terrify us. When we open the pages of a fantasy novel, our noses almost twitch with the smell of magic. Here we find worlds with different rules than our own, where the impossible is made possible. Both genres are fertile ground for an imagination that is open to the unknown—open to mythic awareness.
This dissertation presented me with an opportunity to discuss myth with universe makers: those women writers who bring new worlds to life for us in their books. After sending an initial survey letter to sixteen writers to see if there was interest in such a project, I received eleven positive, and no negative, responses. Clearly, these women were interested in the topic of myth as it related to their work. The eight women I chose to interview spanned fifty-one years from youngest to eldest. They include: Jane Lindskold, Nalo Hopkinson, Robin McKinley, Joan Vinge, C. J. Cherryh, Ursula Le Guin, Sheri Tepper, and Andre Norton.
My study has been open-ended, with no hypothesis to prove or disprove. Interviews with each writer took the form of conversations in which we both participated, rather than a simple question-answer format. The first few conversations generated themes that I continued to discuss with the rest of the writers in order to create a basis for comparison. Defining myth and mythic thinking was a priority. From there we branched out into the landscape and history of their lives, the use of language, ethics, the creative process and dreaming, feminism, voice, magic, the need for personal or psychic space, and emergent myth.
After summarizing the results, I concluded the dissertation with a reflection on what I learned. Myth—used both consciously or unconsciously—such an integral part of the genre that it is almost taken for granted, as living myth often is.
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During the 1990s, Václav Havel was one of the most visible political leaders in the Western World, the focus of biographies, magazine articles, and academic papers. For many in the West, Havel's background as intellectual, dissident, and absurdist playwright, as well as his position as president of the Czech Republic, gave him the aura of a modern philosopher king. But what about him, exactly, generated so much excitement?
This dissertation attempts to understand Havel's importance as a cultural icon. Havel's plays, speeches, and dissident writings explore the absurdity and loss of meaning in modern life, and his struggles are thus a poignant example of a modern man in search of soul. The dissertation uses an archetypal and literary analysis of his plays as a means of extending and explicating Havel's more political and philosophical writings, helping to reveal a complex critique of the hyper-rationalism of Western society that Havel suggests is endangering the future of humankind. A recurring theme in his plays is that of a rationalistic-rationalistic system, usually in the form of government bureaucracy, that seeks to dominate and suppress all that is mysterious, organic, and non-rational.
Havel's mentor, Jan Patocka, regarded Soviet-style totalitarianism as a logical end result of certain cultural tendencies, which he traced back to Greek metaphysics after the time of Socrates. Havel himself has said that totalitarianism remains one of the possible "future-ologies" of humankind. Havel regards totalitarianism as an attack against the imagination itself, and the psychology of totalitarianism resembles what Rafael Lopez-Pedraza has called the Titanic, noted for its psychic emptiness on the one hand and excess and violence on the other. Although Soviet-style totalitarianism has all but disappeared from the planet, the experience of the Titanic is thriving in the post-modern world.
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<div macro="hideWhen tiddler.tags.contains('zz')">Diss. Pacifica Graduate Institute, <span macro="view yr"></span>. <span style="font-style: italic;">Dissertations & Theses: Full Text. ProQuest.</span> (Publication No. AAT <span macro="view an"></span>.)</div>
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Volutions of Voice and Vulva—the ever-changing spiral dance between Spirit and Body—reflect the imaginal journeys of Hera, Sophia, Mary, and Helen. Their stories model the causes and consequences of female subjugation in Western culture that began with the ancient warrior custom of taking ownership and control of captured women's sexual and reproductive capacities. The practice came to be understood as natural and right and was eventually enforced by law. Over time, female subordination and inferiority was then "proved" and perpetuated by philosophical, theological, scientific, and psychological "truths."
An application of a feminist interdisciplinary study of these four female mythological images names and challenges this traditional androcentric culture-making process and reinterprets their stories. A careful use of language and naming reveals that the metaphors "masculine" and "feminine" have been concretized into cultural models and expectations of what being male and being female should be, not what actually is. Archetypes, archetypal images, and socially constructed gender roles or stereotypes are three different entities on a long and often undifferentiated continuum of understanding and usage. What may be a numinous archetypal image for one is a stultifying and deadly stereotype for another. The myths of these female figures reveal that the traditional gender complementarity paradigm tends to impose gender roles into fixed stereotypical behaviors that must be replaced with a model of gender equivalence promoting strength, creativity, and potential for both sexes.
In addition, the coniunctio between the "masculine" and the "feminine" principles is not the only path to Wholeness. An underlying pattern among the four icons is the connection and balance between their Voices of Silence and their silenced voices. Wisdom Sophia is that Voice from the Internal Authority or Crone in the Heraean Women's Mysteries, to Mary's union with the Holy Spirit at the Annunciation, to Helen's interchange with Phorcyas-Mesphisto at her patriarchal hearth. Their stories demonstrate that the cyclic union and separation between one's Internal Authority and the external authority of the dominant androcentric culture gave and continues to give women the psychological virginity and spiritual intactness needed for survival.
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The Weird Sisters, from William Shakespeare's play //Macbeth// are, arguably, the most famous trio of witches in English literature. Shakespeare's Weird Sisters are a complex trinitarian mythological construction, a unique amalgamation of classical, folkloric, and socio-political elements. This dissertation is an archetypal exploration of the Weird Sisters; by examining this feminine trio through the lens of mythology, new insights about their significance may be understood.
Early accounts of the Weird Sisters, dating from 1420 and including Raphael Holinshed's 1577 //History of England//, //Scotland and Irelande//, assign archetypal value to the Weird Sisters as goddesses of destiny, nymphs or fairies. Due to many factors, including the influence of King James I, these archetypes were subsumed; in his 1606 tragedy, Shakespeare transforms the Weird Sisters from goddesses into "witches" lead by Hecate. Thus, Shakespeare joins an Anglo-Saxon mythological trio to a Greco-Roman three-headed deity, fusing together aspects of two separate pantheons in order to create a unique cosmology involving female trinitarian archetypes. In Macbeth, the bard depicts both a pale "lunar" Hecate, and a black "underworld" Hecate, related to Nox. The Weird Sisters function as mimetic doubles of the Triple Goddess in the drama, which brings added resonance to their "Double, Double" refrains; their actions may be categorized as predominantly Hecatean. The Weird Sisters' four scenes, including their famous cauldron ritual, are replete with Hecatean symbolism. Shakespeare mines trinitarian aspects in stage directions, dialogue, plot, ritual, and symbols. Hecate, Nox, and other archetypal Triple Goddess figures from Celtic mythology are part of Shakespeare's Weird Sisters' archetypal resonance. In their final scene, their trinitarianism and their unholy ghosts directly collide with the Holy Trinity.
Eleven classical female trios from mythology are related to Shakespeare's Weird Sisters. There are connections between fairy tales and the bard's trio as well.
From L. Frank Baum's 1900 creation of the Wicked Witch of the West (who was a witch sister) in //The Wizard of Oz//, to the 1998 Warner Brothers hit television show "Charmed" (about three modern witch sisters), popular culture imagery from the twentieth and twenty-first centuries mirrors a continued fascination with Shakespeare's Weird Sisters.
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The origins and impacts of core myths informing American culture, particularly those reflected in organizational structures affecting social enterprise, deserve serious study and demand an exploration of alternative organizing principles and leadership approaches. This study unpacks the patriarchal system, which represents the fundamental myth of American organizations, and it explores the history and impacts of heroism implicit in patriarchal mythology. The patriarchal myth informs a system of separation, discrimination, and prejudice. Although some declare the solution for this current organizational and cultural problem is to find a "better patriarch," this study focuses instead on changing organizational structures and norms, revising the concept of leadership, and transforming the way power is distributed and applied in order to develop partnership within systems of work and community. To the extent that organizations mirror worldviews, the transformation of the individual precedes systemic change in our organizational structures. For this reason, this study explores individual growth from adolescence through the hero's journey by tracing the myths depicted in The Odyssey , and stories of The Holy Grail, Adam and Eve, and Draupadi (in the Mahabharata ). The continuing journey of maturity makes possible the exploration of additional archetypes: the trickster, the sage, the shaman, and the crone. Those individuals who complete this difficult initiation are transformed elders, who bring their wisdom, experience, insight, vision, and compassion to assist those who are experiencing their own initiations and to help create organizations capable of operating in new ways. Various examples are given to illustrate the structure, policies, and norms of the partnership organization, including a short case study of a public agency that successfully made the shift from the traditional patriarchal paradigm to a partnership approach. The process of transition is recognized as an important element of successful organizational change, and is explored in the context of both mythic examples and organizational applications. Finally, a workshop design for individuals seeking to make the shift from hierarchical heroism to the partnership model is presented.
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Myths about heroes involve early parental loss, tests and trials, mentors, battles against evil, and night-sea journeys during which self-awareness deepens. J. K. Rowling's books about the hero, Harry Potter, share these plot similarities, while they engender phenomenal attention and commercial success. Amplification of the archetypal and mythic themes in Rowling's books may explain their compelling hold in popular culture. This dissertation offers an exploration of the Harry Potter books using the methods of depth psychological analysis. It asks, "Who needs Harry Potter, with his adventures, challenges with evil and decision making?" Ultimately, I propose that we have invited Harry, and he has shown up.
In chronicling Harry's coming of age, J. K. Rowling also provides a metaphorical commentary on contemporary society, which is analyzable in depth psychological terms. She highlights the age-old vulnerability and powerlessness of children. Children, and the futurity they represent, remain unprotected in modern, technologically evolved society. It is my contention that Rowling writes about similarities between the world fantasized in her novels and the contemporary world.
Rowling encourages an examination of our shadow thoughts with implications that it is heroic to ponder our beliefs and prejudices. Harry faces quests that require self-reflection and the recognition of the evil within, all of which potentially offer transformation to the existing status quo. Like C. G. Jung, Rowling avoids conceptualizing life's dilemmas within the dualities of good and bad, light and dark. Jung's theories about the shadow provide a framework for understanding Harry's emerging self, warts and all, as well as the personality of the antagonist, Voldemort.
We discover in Rowling's work that the failure to develop empathy or meaningful connections with others is perhaps the greatest evil of all. In the Harry Potter books, the theme of healing the heartfelt despair of loss through connections with others joins with the power of story to transform. The archetypal images within the Harry Potter novels represent connections to the collective unconscious, and offer meaningful commentary about love, loss, and transformation in contemporary culture.
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This dissertation focuses on how the Greek and Germanic cultures dealt with the krataphonic symbol of Alcohol. It examines the literature to understand how the alcohol of each culture (Wine, Mead or Ale) was handled. These two cultures were chosen because both exhibit a standard literary record as well as being relatively equivalent regarding technology and cultural influences in the centuries of study: roughly 800BC-200BC for the Greeks and 700AD-1300AD for the Germanics.
In order to contextually explore the literature this dissertation uses tools found in the field of Rhetoric. The specific tool used to explore alcohol in myth is the Rhetorical Situation, adjusted for the field of Mythological Studies. The Rhetorical Situation is used to study the interaction between the Audience, the Rhetor, and the Rhetoric. The interaction between the three highlights the choices made by each culture as they deal with the symbol and reality of alcohol.
In order to understand the Audience, Daniel Dubuiosson's idea of the Cosmographic Formation is adjusted. Rather than applying it to the entire culture, it focuses on the main elements which would affect alcohol usage: social structure, belief system, geography, technology, and economic system. These elements affected both the audience and the Rhetor, and would explain the choices made in the rhetoric.
The Rhetoric - the myths themselves - is categorized with the Mythologic Schema. This schema categorizes a myth on a diagram representing three aspects of mythology: Supranormal, History and Ritual. By using the schema, the myths are compared as equally as possible between the cultures. This equality ensures that the conclusions reached through the study are contextually sound for each culture, and can be extrapolated to underline what is necessary to handle alcohol in myth and society.
The context of each culture adjusted the choices made by the Rhetor, and affected the way that alcohol was portrayed in the myths. The results of this study showed that the power of alcohol was mitigated by the consequences suffered by the characters. Alcohol was controlled in both cultures by having a standard narrative which justified the cultural response to drinking.
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This dissertation investigates the transformation and the impact of human projections on the well-being of wolves and wilderness. In conjunction, it examines the importance of wilderness to the human psyche.
From mythological and psychological perspectives, this inquiry seeks, through myths, fairy tales, and dreams, to explore attitudes toward wolves from ancient times to the present. A summary of Jung's concept of the human unconscious leads to an examination of shadow and projection as applied to wolves and wildernesses as well as to a sampling of recent dreams of wolves, dreams that seem to point to a new awareness of the necessity of both wolves and wilderness to the human psyche.
It becomes clear that neither wolves nor wilderness can exist while humans consider them evil. Nor can a romantic perspective allow either to thrive. While myths, legends, and fairytales inform us of the human—wolf relationship over the centuries, only an unbiased view—one that at the same time acknowledges the interdependence of humans and the rest of the natural world—will allow that natural world to flourish.
In the midst of this study it became apparent to me that wolves and forests need each other, that one cannot properly exist without the other. From Aldo Leopold's time forward, scientists have shown that forests without major predators like wolves or mountain lions become overbrowsed by animals whose only remaining predator is man, and that overbrowsed forests cannot produce healthy flora. Thus the forest itself suffers from the absence of wolves. For their part, wolves must have miles and miles of habitat to support their packs, and wolves will only be allowed to live where forests can grow and humans permit them.
But not only do wolves and forests need each other: the human psyche seems to require both in order to acknowledge its own inner wilderness. Whether or not one actually enters the forested wilderness or hears the howl of a wolf, knowledge that contact with wild animals and wild places is possible allows us to embrace the wildness in ourselves.
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The rather lean conversations between God and women in the book of Genesis are here reinspected with an eye toward gaining insight into how persistent cultural issues regarding the treatment of women could arise from the ways in which biblical conversations are understood. Each chapter of the dissertation focuses on communication that occurred between a particular biblical woman or group of women and God; Eve, Sarah, Hagar, and barren women. It will be suggested that by re-inspecting the motivations of the monotheistic God and the actions of the biblical women with whom he conversed, one could envision the god-image as one who grows into his understanding of women.
Using various postmodern techniques, this work will attempt to assess how a particular rendering of a narrative may answer a question the current culture is posing. Applying a multi-vocal, dialogical approach to the stories involving God and women provides several ways of propelling a conversation between the myth, the culture, and the writer, such that unique ways of perceiving each story can evolve.
This inquiry detected subtle changes in God's demeanor towards biblical women which hinted at an underlying compassion held by God towards all womankind. In that the male-imaged, monotheistic God has no consort and no intimate knowledge of women, this lack breeds the curiosity that accompanies him throughout the connections he makes with each biblical woman. Although initial impressions suggested that God's watchfulness bordered on the pornographic, it appeared that his curiosity was laced more with a deep regard than with titillation. Far more intricate motivations drew this god to repeated interactions with women. In each circumstance, a significant cultural consequence seemed to arise within his conversations with them. A further insight of the work included realization of the woeful conduct of present-day women towards one another.
This dissertation does not claim that biblical explanations are the sole reason for particular cultural actions. Eve, Sarah, and Hagar are, however, mythical females who haunt the cultural landscape. It is difficult not to attribute the influence of biblical literature to much of what western culture finds acceptable as regards men's behavior towards women.
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Philanthropy is an important leveraging threshold for American women, especially since they now control more than 50% of the wealth in the United States. With their newfound financial empowerment, women can more effectively address the roots of social problems and make use of their experience as a marginalized Other in a patriarchal culture. However, if they are to re-model philanthropy into an opportunity for healing and change, they will need a different model, one that envisions life as well as difference differently. Contemporary culture's "monotheistic" paradigm imagines disparity to be threatening, while its devotion to perfection is completely divorced from philanthropy's soulful complexity. Moreover, how can women philanthropists avoid being corrupted by money and power when fallibility, shadow, and moral ambiguity are heroically denied?
Bringing a mythological and depth psychological approach to philanthropy, I argue that a fuller understanding of the paradigm of the trickster, an inherently unconventional figure, would provide women with a valuable alternative path to philanthropy, one that not only mirrors soul but also opens the way to real change by re-imagining marginality, Otherness, and difference. Coming from a polytheistic heritage, the trickster honors a multiplicity of viewpoints. The metaphorical application of trickster's dynamics to philanthropy highlights the reciprocity of philanthropic giving, and its connection to individuation engenders inner and outer transformative journeys that enable philanthropists to change as they work for change. Additionally, trickster's paradoxical doubleness grounds while opening up possibilities, heals while creating conflict, and inspires while encouraging an acceptance of all that it means to be human, reminding us that philanthropy is etymologically tied to the love of humankind.
The argument is developed through various analogies between Greek, West African, African American, and Native American tricksters and conceptions of soul, philanthropy, and women. These analogies are supported by specific trickster tales as well as real-life examples of women philanthropists working for cultural transformation. Ultimately, the metamorphoses turn out to be reciprocal because when a character known for selfishness and greed is ironically associated with love and generosity, his image is restored even as it stories the individuation of women, philanthropy, and their culture.
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This production dissertation explores the friendship dynamics between women as they contend with the stresses of changing life circumstances. Research indicates that friendship is a powerful factor in resilience to stress for both women and men. However, recent socio-biological research indicates that hormonal stress responses and consequential behaviors show gender differences. Women are more likely to ally with and attend to other women in times of crisis rather than to follow the more prevalent stress response pattern of "fight or flight" which both is male specific and utilizes more negative emotions. This behavior of "tend and befriend" seems to identify female response to upheavals in circumstances more accurately than fight or flight and appears to be a continuation or intensification of ordinary female friendship behaviors. Other avenues of stress research indicate that it is the positive emotions elicited in friendship that broaden the individual behavioral repertoire, building greater resilience and better well-being.
An examination of the motif of "tend and befriend" among the goddesses and mortal women in The Odyssey introduces an exploration of female response to extraordinary events in the Egyptian and Greek myths of Isis and Nephthys and Demeter and Hecate, and in the Hebrew Bible story of Ruth and Naomi. This prelude to current research on women's friendship reinforces the idea that tending and befriending are ancient patterns of women's behavior.
Memoir is an expanding form of writing in the new century as we seek to find meaning in our world. Memoirs create personal mythologies when they provide insight into the process of an individual's discovery of meaning. Thus, memoir can contribute to the making of mythos: relating familiar themes in which the reader connects with the writer on the human journey. Following the Odyssean theme of journey and the biblical story of successful alliance between Naomi and Ruth, a memoir accompanies the research. This story tells how two women of different generations, united by similar interests and life stories but separated geographically, develop a deep friendship as they travel together.
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This hermeneutical and heuristic study begins with a desire to understand why many women in our culture wish they could find a way to erase their wrinkles. Using Nathaniel Hawthorne's short story "The Birthmark" as an organizing instrument, this dissertation explores and ponders the question as it relates to the social construction of beauty and the aging process.
In "The Birthmark" Aylmer, a man of science, becomes obsessed with the birthmark on his wife's face. Whereas he views the birthmark as a flaw, his wife, Georgiana, sees it as a charm. Over time the pain of being seen as defective ultimately leads Georgiana to change her mind and to demand the removal of the birthmark. Drawing on his "deep-science," Aylmer brews a concoction in his laboratory that Georgiana willingly drinks. Instantly she is overcome by sleep, a sleep from which she never awakens.
Starting with an understanding of current technology, this work examines the unspoken promise of science: immortality. This dissertation specifically scrutinizes the copy of selected advertisements that market anti-wrinkle products and then uses the imagination to explore underlying images. This culture's obsession with youthful appearance becomes evident through the description of actual treatments for wrinkles, both non-surgical and surgical, and an analysis of the growing popularity of these treatments.
Culturally young is paired with beautiful while old is paired with ugly. Why? Themes of investigation include: women as property from a historical perspective, unreal images that can result in psychological poisoning, identity with a self-image that views the aging face as a stranger, and relationship dynamics that help contribute to an eternal quest for the fountain of youth. Further exploration stays close to specific themes in Hawthorne's story including: Aylmer's dream, Georgiana's deep fear of going mad, and Georgiana's fainting (going unconscious) at the threshold of Aylmer's laboratory.
In conclusion the author imagines that the antidote that would enable women to accept or perhaps even love their wrinkles lies somewhere in the complexities of "connectedness"—in human relationships where to truly love a woman is to be able to see and experience her beauty. Henceforth, beauty becomes ageless.
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The point of departure for this dissertation was the call, thirteen years ago, to return to Wyoming, the place where I was born, and discovering the lifegiving importance of having done so. C. G. Jung's notion, archetype of place, is central to this work. His phrase suggests that archetypes, fundamental patterns of history and energy, inhabit places and affect the people who live there. Questions begin to arise: What is it about certain places that calls to us? Do they sometimes wish we would leave them alone? What is the meaning of home? Of sacred space?
The dissertation responds to these questions via three personal and creative essays about Wyoming places: "The Big Empty" focuses upon the Powder River Basin and the incursion of coalbed methane development there. "Tongues of Fire" relates a geothermally active place on the Tongue River, a crucible that embodies the alchemist's maxim, "The fire must always burn slowly and should be kept low." "Heart of Stone" relates a pilgrimage to Heart Mountain and explores the geology, history, and topography of this place, whose mystery is captured by the Buddhist koan: "The heart of stone from which all compassion flows."
The essays discover and express archetypal forms, or elementary ideas, inhabiting each of these places. In doing so, the dissertation fuses archetypal theory with other disciplines: geology, ecology, history, politics, and economics. A theoretical commentary then elaborates upon underlying themes: the other, alchemy and active imagination, and detachment.
The notion of the duality of archetypal forms lies at the heart of this work: Everything contains its opposite. Thus, if I experience Wyoming as a place of physical beauty, solitude, and slowness, I may expect to experience it also as lonely, isolated, and as a place where beauty is destroyed. This understanding in turn suggests that changes in beloved places are inherent in the nature of matter itself. The dissertation suggests how to inhabit such disequilibrium, and how to live "between a rock and a heart place" in a way that is vital and compelling.
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"You are what you think" is a popular self-help philosophy, outlined in books written by Deepak Chopra, Wayne Dyer, Shakti Gawain, and others. In a mutable, responsive, quantum universe, the energetic vibrations of thoughts and feelings determine one's life circumstances. Wealth, love, happiness, health, even physical immortality can be obtained by anyone who understands the "Law of Attraction"—that positive vibrations reliably generate positive results. These claims are presented as literal truth, buttressed by developments in modern physics and the insights of Eastern spiritual practitioners. But "you are what you think" is best understood as a myth, a contemporary manifestation of archetypal patterns. I call this self-help philosophy "the myth of unlimited human potential."
In this study, I undertake an archetypal analysis of the central images or ideas in the myth of unlimited human potential as it appears in bestselling self-help books. For example, "energy" and "abundance," the "higher self," and the prescribed "evolution" to a "higher consciousness" in the myth are powerful variations of the archetypal Hero, the Child, and Paradise, the lost state of blissful innocence and security. These come together in the image of the "unlimited," a free, expansive human being in an infinite cosmos, capable of endless transformation, that is the heart of the myth. The image of the unlimited, as New World, frontier, and the Land of Opportunity for the self-made man, is also an essential component of the American Dream.
The myth of unlimited human potential is relentlessly optimistic about the natural goodness and creative role that individuals play in the world, and this dogmatism creates an unacknowledged shadow. The mythic or archetypal perspective opens up this fundamentalist philosophy of optimism to reveal the psychological fantasies of power, divinity, immortality, and innocence that fuel the myth, along with their less desirable and difficult aspects. What are the implications of the American attachment to the unlimited and to belief in abundance as birthright and singular proof of the well-lived life? What must be denied to participate in the literal enactment of these fantasies? I attempt to shed some light on these questions and problems.
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if(!version.extensions.YourSearchPlugin){version.extensions.YourSearchPlugin={major:2,minor:1,revision:5,source:"http://tiddlywiki.abego-software.de/#YourSearchPlugin",licence:"[[BSD open source license (abego Software)|http://www.abego-software.de/legal/apl-v10.html]]",copyright:"Copyright (c) abego Software GmbH, 2005-2010 (www.abego-software.de)"};if(!window.abego){window.abego={};}if(!Array.forEach){Array.forEach=function(_1,_2,_3){for(var i=0,_4=_1.length;i<_4;i++){_2.call(_3,_1[i],i,_1);}};Array.prototype.forEach=function(_5,_6){for(var i=0,_7=this.length;i<_7;i++){_5.call(_6,this[i],i,this);}};}abego.toInt=function(s,_8){if(!s){return _8;}var n=parseInt(s);return (n==NaN)?_8:n;};abego.createEllipsis=function(_9){var e=createTiddlyElement(_9,"span");e.innerHTML="…";};abego.shallowCopy=function(_a){if(!_a){return _a;}var _b={};for(var n in _a){_b[n]=_a[n];}return _b;};abego.copyOptions=function(_c){return !_c?{}:abego.shallowCopy(_c);};abego.countStrings=function(_d,s){if(!s){return 0;}var _e=s.length;var n=0;var _f=0;while(1){var i=_d.indexOf(s,_f);if(i<0){return n;}n++;_f=i+_e;}return n;};abego.getBracedText=function(_10,_11,_12){if(!_11){_11=0;}var re=/\{([^\}]*)\}/gm;re.lastIndex=_11;var m=re.exec(_10);if(m){var s=m[1];var _13=abego.countStrings(s,"{");if(!_13){if(_12){_12.lastIndex=re.lastIndex;}return s;}var len=_10.length;for(var i=re.lastIndex;i<len&&_13;i++){var c=_10.charAt(i);if(c=="{"){_13++;}else{if(c=="}"){_13--;}}}if(!_13){if(_12){_12.lastIndex=i-1;}return _10.substring(m.index+1,i-1);}}};abego.select=function(_14,_15,_16,_17){if(!_17){_17=[];}_14.forEach(function(t){if(_15.call(_16,t)){_17.push(t);}});return _17;};abego.consumeEvent=function(e){if(e.stopPropagation){e.stopPropagation();}if(e.preventDefault){e.preventDefault();}e.cancelBubble=true;e.returnValue=true;};abego.TiddlerFilterTerm=function(_18,_19){if(!_19){_19={};}var _1a=_18;if(!_19.textIsRegExp){_1a=_18.escapeRegExp();if(_19.fullWordMatch){_1a="\\b"+_1a+"\\b";}}var _1b=new RegExp(_1a,"m"+(_19.caseSensitive?"":"i"));this.tester=new abego.MultiFieldRegExpTester(_1b,_19.fields,_19.withExtendedFields);};abego.TiddlerFilterTerm.prototype.test=function(_1c){return this.tester.test(_1c);};abego.parseNewTiddlerCommandLine=function(s){var m=/(.*?)\.(?:\s+|$)([^#]*)(#.*)?/.exec(s);if(!m){m=/([^#]*)()(#.*)?/.exec(s);}if(m){var r;if(m[3]){var s2=m[3].replace(/#/g,"");r=s2.parseParams("tag");}else{r=[[]];}var _1d=m[2]?m[2].trim():"";r.push({name:"text",value:_1d});r[0].text=[_1d];return {title:m[1].trim(),params:r};}else{return {title:s.trim(),params:[[]]};}};abego.parseTiddlerFilterTerm=function(_1e,_1f,_20){var re=/\s*(?:(?:\{([^\}]*)\})|(?:(=)|([#%!])|(?:(\w+)\s*\:(?!\/\/))|(?:(?:("(?:(?:\\")|[^"])+")|(?:\/((?:(?:\\\/)|[^\/])+)\/)|(\w+\:\/\/[^\s]+)|([^\s\)\-\"]+)))))/mg;var _21={"!":"title","%":"text","#":"tags"};var _22={};var _23;re.lastIndex=_1f;while(1){var i=re.lastIndex;var m=re.exec(_1e);if(!m||m.index!=i){throw "Word or String literal expected";}if(m[1]){var _24={};var _25=abego.getBracedText(_1e,0,_24);if(!_25){throw "Invalid {...} syntax";}var f=Function("tiddler","return ("+_25+");");return {func:f,lastIndex:_24.lastIndex,markRE:null};}if(m[2]){_23=true;}else{if(m[3]){_22[_21[m[3]]]=1;}else{if(m[4]){_22[m[4]]=1;}else{var _26=m[6];var _27=m[5]?window.eval(m[5]):m[6]?m[6]:m[7]?m[7]:m[8];var _20=abego.copyOptions(_20);_20.fullWordMatch=_23;_20.textIsRegExp=_26;var _28=[];for(var n in _22){_28.push(n);}if(_28.length==0){_20.fields=_20.defaultFields;}else{_20.fields=_28;_20.withExtendedFields=false;}var _29=new abego.TiddlerFilterTerm(_27,_20);var _2a=_26?_27:_27.escapeRegExp();if(_2a&&_23){_2a="\\b"+_2a+"\\b";}return {func:function(_2b){return _29.test(_2b);},lastIndex:re.lastIndex,markRE:_2a?"(?:"+_2a+")":null};}}}}};abego.BoolExp=function(s,_2c,_2d){this.s=s;var _2e=_2d&&_2d.defaultOperationIs_OR;var _2f=/\s*(?:(\-|not)|(\())/gi;var _30=/\s*\)/g;var _31=/\s*(?:(and|\&\&)|(or|\|\|))/gi;var _32=/\s*[^\)\s]/g;var _33=/\s*(\-|not)?(\s*\()?/gi;var _34;var _35=function(_36){_33.lastIndex=_36;var m=_33.exec(s);var _37;var _38;if(m&&m.index==_36){_36+=m[0].length;_37=m[1];if(m[2]){var e=_34(_36);_30.lastIndex=e.lastIndex;if(!_30.exec(s)){throw "Missing ')'";}_38={func:e.func,lastIndex:_30.lastIndex,markRE:e.markRE};}}if(!_38){_38=_2c(s,_36,_2d);}if(_37){_38.func=(function(f){return function(_39){return !f(_39);};})(_38.func);_38.markRE=null;}return _38;};_34=function(_3a){var _3b=_35(_3a);while(1){var l=_3b.lastIndex;_31.lastIndex=l;var m=_31.exec(s);var _3c;var _3d;if(m&&m.index==l){_3c=!m[1];_3d=_35(_31.lastIndex);}else{try{_3d=_35(l);}catch(e){return _3b;}_3c=_2e;}_3b.func=(function(_3e,_3f,_40){return _40?function(_41){return _3e(_41)||_3f(_41);}:function(_42){return _3e(_42)&&_3f(_42);};})(_3b.func,_3d.func,_3c);_3b.lastIndex=_3d.lastIndex;if(!_3b.markRE){_3b.markRE=_3d.markRE;}else{if(_3d.markRE){_3b.markRE=_3b.markRE+"|"+_3d.markRE;}}}};var _43=_34(0);this.evalFunc=_43.func;if(_43.markRE){this.markRegExp=new RegExp(_43.markRE,_2d.caseSensitive?"mg":"img");}};abego.BoolExp.prototype.exec=function(){return this.evalFunc.apply(this,arguments);};abego.BoolExp.prototype.getMarkRegExp=function(){return this.markRegExp;};abego.BoolExp.prototype.toString=function(){return this.s;};abego.MultiFieldRegExpTester=function(re,_44,_45){this.re=re;this.fields=_44?_44:["title","text","tags"];this.withExtendedFields=_45;};abego.MultiFieldRegExpTester.prototype.test=function(_46){var re=this.re;for(var i=0;i<this.fields.length;i++){var s=store.getValue(_46,this.fields[i]);if(typeof s=="string"&&re.test(s)){return this.fields[i];}}if(this.withExtendedFields){return store.forEachField(_46,function(_47,_48,_49){return typeof _49=="string"&&re.test(_49)?_48:null;},true);}return null;};abego.TiddlerQuery=function(_4a,_4b,_4c,_4d,_4e){if(_4c){this.regExp=new RegExp(_4a,_4b?"mg":"img");this.tester=new abego.MultiFieldRegExpTester(this.regExp,_4d,_4e);}else{this.expr=new abego.BoolExp(_4a,abego.parseTiddlerFilterTerm,{defaultFields:_4d,caseSensitive:_4b,withExtendedFields:_4e});}this.getQueryText=function(){return _4a;};this.getUseRegExp=function(){return _4c;};this.getCaseSensitive=function(){return _4b;};this.getDefaultFields=function(){return _4d;};this.getWithExtendedFields=function(){return _4e;};};abego.TiddlerQuery.prototype.test=function(_4f){if(!_4f){return false;}if(this.regExp){return this.tester.test(_4f);}return this.expr.exec(_4f);};abego.TiddlerQuery.prototype.filter=function(_50){return abego.select(_50,this.test,this);};abego.TiddlerQuery.prototype.getMarkRegExp=function(){if(this.regExp){return "".search(this.regExp)>=0?null:this.regExp;}return this.expr.getMarkRegExp();};abego.TiddlerQuery.prototype.toString=function(){return (this.regExp?this.regExp:this.expr).toString();};abego.PageWiseRenderer=function(){this.firstIndexOnPage=0;};merge(abego.PageWiseRenderer.prototype,{setItems:function(_51){this.items=_51;this.setFirstIndexOnPage(0);},getMaxPagesInNavigation:function(){return 10;},getItemsCount:function(_52){return this.items?this.items.length:0;},getCurrentPageIndex:function(){return Math.floor(this.firstIndexOnPage/this.getItemsPerPage());},getLastPageIndex:function(){return Math.floor((this.getItemsCount()-1)/this.getItemsPerPage());},setFirstIndexOnPage:function(_53){this.firstIndexOnPage=Math.min(Math.max(0,_53),this.getItemsCount()-1);},getFirstIndexOnPage:function(){this.firstIndexOnPage=Math.floor(this.firstIndexOnPage/this.getItemsPerPage())*this.getItemsPerPage();return this.firstIndexOnPage;},getLastIndexOnPage:function(){return Math.min(this.getFirstIndexOnPage()+this.getItemsPerPage()-1,this.getItemsCount()-1);},onPageChanged:function(_54,_55){},renderPage:function(_56){if(_56.beginRendering){_56.beginRendering(this);}try{if(this.getItemsCount()){var _57=this.getLastIndexOnPage();var _58=-1;for(var i=this.getFirstIndexOnPage();i<=_57;i++){_58++;_56.render(this,this.items[i],i,_58);}}}finally{if(_56.endRendering){_56.endRendering(this);}}},addPageNavigation:function(_59){if(!this.getItemsCount()){return;}var _5a=this;var _5b=function(e){if(!e){var e=window.event;}abego.consumeEvent(e);var _5c=abego.toInt(this.getAttribute("page"),0);var _5d=_5a.getCurrentPageIndex();if(_5c==_5d){return;}var _5e=_5c*_5a.getItemsPerPage();_5a.setFirstIndexOnPage(_5e);_5a.onPageChanged(_5c,_5d);};var _5f;var _60=this.getCurrentPageIndex();var _61=this.getLastPageIndex();if(_60>0){_5f=createTiddlyButton(_59,"Previous","Go to previous page (Shortcut: Alt-'<')",_5b,"prev");_5f.setAttribute("page",(_60-1).toString());_5f.setAttribute("accessKey","<");}for(var i=-this.getMaxPagesInNavigation();i<this.getMaxPagesInNavigation();i++){var _62=_60+i;if(_62<0){continue;}if(_62>_61){break;}var _63=(i+_60+1).toString();var _64=_62==_60?"currentPage":"otherPage";_5f=createTiddlyButton(_59,_63,"Go to page %0".format([_63]),_5b,_64);_5f.setAttribute("page",(_62).toString());}if(_60<_61){_5f=createTiddlyButton(_59,"Next","Go to next page (Shortcut: Alt-'>')",_5b,"next");_5f.setAttribute("page",(_60+1).toString());_5f.setAttribute("accessKey",">");}}});abego.LimitedTextRenderer=function(){var _65=40;var _66=4;var _67=function(_68,_69,_6a){var n=_68.length;if(n==0){_68.push({start:_69,end:_6a});return;}var i=0;for(;i<n;i++){var _6b=_68[i];if(_6b.start<=_6a&&_69<=_6b.end){var r;var _6c=i+1;for(;_6c<n;_6c++){r=_68[_6c];if(r.start>_6a||_69>_6b.end){break;}}var _6d=_69;var _6e=_6a;for(var 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_80=_7c.exec(s);if(_80){if(_7e<_80.index){var t=s.substring(_7e,_80.index);_7d.push({text:t});}_7d.push({text:_80[0],isMatch:true});_7e=_80.index+_80[0].length;}else{_7d.push({text:s.substr(_7e)});break;}}while(true);}else{_7d.push({text:s});}return _7d;};var _81=function(_82){var _83=0;for(var i=0;i<_82.length;i++){if(_82[i].isMatch){_83++;}}return _83;};var _84=function(s,_85,_86,_87,_88){var _89=Math.max(Math.floor(_88/(_87+1)),_65);var _8a=Math.max(_89-(_86-_85),0);var _8b=Math.min(Math.floor(_86+_8a/3),s.length);var _8c=Math.max(_8b-_89,0);_8c=_77(s,_8c,true);_8b=_77(s,_8b,false);return {start:_8c,end:_8b};};var _8d=function(_8e,s,_8f){var _90=[];var _91=_81(_8e);var pos=0;for(var i=0;i<_8e.length;i++){var t=_8e[i];var _92=t.text;if(t.isMatch){var _93=_84(s,pos,pos+_92.length,_91,_8f);_67(_90,_93.start,_93.end);}pos+=_92.length;}return _90;};var _94=function(s,_95,_96){var _97=_96-_6f(_95);while(_97>0){if(_95.length==0){_67(_95,0,_77(s,_96,false));return;}else{var _98=_95[0];var _99;var _9a;if(_98.start==0){_99=_98.end;if(_95.length>1){_9a=_95[1].start;}else{_67(_95,_99,_77(s,_99+_97,false));return;}}else{_99=0;_9a=_98.start;}var _9b=Math.min(_9a,_99+_97);_67(_95,_99,_9b);_97-=(_9b-_99);}}};var _9c=function(_9d,s,_9e,_9f,_a0){if(_9f.length==0){return;}var _a1=function(_a2,s,_a3,_a4,_a5){var t;var _a6;var pos=0;var i=0;var _a7=0;for(;i<_a3.length;i++){t=_a3[i];_a6=t.text;if(_a4<pos+_a6.length){_a7=_a4-pos;break;}pos+=_a6.length;}var _a8=_a5-_a4;for(;i<_a3.length&&_a8>0;i++){t=_a3[i];_a6=t.text.substr(_a7);_a7=0;if(_a6.length>_a8){_a6=_a6.substr(0,_a8);}if(t.isMatch){createTiddlyElement(_a2,"span",null,"marked",_a6);}else{createTiddlyText(_a2,_a6);}_a8-=_a6.length;}if(_a5<s.length){abego.createEllipsis(_a2);}};if(_9f[0].start>0){abego.createEllipsis(_9d);}var _a9=_a0;for(var i=0;i<_9f.length&&_a9>0;i++){var _aa=_9f[i];var len=Math.min(_aa.end-_aa.start,_a9);_a1(_9d,s,_9e,_aa.start,_aa.start+len);_a9-=len;}};this.render=function(_ab,s,_ac,_ad){if(s.length<_ac){_ac=s.length;}var _ae=_7b(s,_ad);var _af=_8d(_ae,s,_ac);_94(s,_af,_ac);_9c(_ab,s,_ae,_af,_ac);};};(function(){function _b0(msg){alert(msg);throw msg;};if(version.major<2||(version.major==2&&version.minor<1)){_b0("YourSearchPlugin requires TiddlyWiki 2.1 or newer.\n\nCheck the archive for YourSearch plugins\nsupporting older versions of TiddlyWiki.\n\nArchive: http://tiddlywiki.abego-software.de/archive");}abego.YourSearch={};var _b1;var _b2;var _b3=function(_b4){_b1=_b4;};var _b5=function(){return _b1?_b1:[];};var _b6=function(){return _b1?_b1.length:0;};var _b7=4;var _b8=10;var _b9=2;var _ba=function(s,re){var m=s.match(re);return m?m.length:0;};var _bb=function(_bc,_bd){var _be=_bd.getMarkRegExp();if(!_be){return 1;}var _bf=_bc.title.match(_be);var _c0=_bf?_bf.length:0;var _c1=_ba(_bc.getTags(),_be);var _c2=_bf?_bf.join("").length:0;var _c3=_bc.title.length>0?_c2/_bc.title.length:0;var _c4=_c0*_b7+_c1*_b9+_c3*_b8+1;return _c4;};var _c5=function(_c6,_c7,_c8,_c9,_ca,_cb){_b2=null;var _cc=_c6.reverseLookup("tags",_cb,false);try{var _cd=[];if(config.options.chkSearchInTitle){_cd.push("title");}if(config.options.chkSearchInText){_cd.push("text");}if(config.options.chkSearchInTags){_cd.push("tags");}_b2=new abego.TiddlerQuery(_c7,_c8,_c9,_cd,config.options.chkSearchExtendedFields);}catch(e){return [];}var _ce=_b2.filter(_cc);var _cf=abego.YourSearch.getRankFunction();for(var i=0;i<_ce.length;i++){var _d0=_ce[i];var _d1=_cf(_d0,_b2);_d0.searchRank=_d1;}if(!_ca){_ca="title";}var _d2=function(a,b){var _d3=a.searchRank-b.searchRank;if(_d3==0){if(a[_ca]==b[_ca]){return (0);}else{return (a[_ca]<b[_ca])?-1:+1;}}else{return (_d3>0)?-1:+1;}};_ce.sort(_d2);return _ce;};var _d4=80;var _d5=50;var _d6=250;var _d7=50;var _d8=25;var _d9=10;var _da="yourSearchResult";var _db="yourSearchResultItems";var _dc;var _dd;var _de;var _df;var _e0;var _e1=function(){if(version.extensions.YourSearchPlugin.styleSheetInited){return;}version.extensions.YourSearchPlugin.styleSheetInited=true;setStylesheet(store.getTiddlerText("YourSearchStyleSheet"),"yourSearch");};var _e2=function(){return _dd!=null&&_dd.parentNode==document.body;};var _e3=function(){if(_e2()){document.body.removeChild(_dd);}};var _e4=function(e){_e3();var _e5=this.getAttribute("tiddlyLink");if(_e5){var _e6=this.getAttribute("withHilite");var _e7=highlightHack;if(_e6&&_e6=="true"&&_b2){highlightHack=_b2.getMarkRegExp();}story.displayTiddler(this,_e5);highlightHack=_e7;}return (false);};var _e8=function(){if(!_de){return;}var _e9=_de;var _ea=findPosX(_e9);var _eb=findPosY(_e9);var _ec=_e9.offsetHeight;var _ed=_ea;var _ee=_eb+_ec;var _ef=findWindowWidth();if(_ef<_dd.offsetWidth){_dd.style.width=(_ef-100)+"px";_ef=findWindowWidth();}var _f0=_dd.offsetWidth;if(_ed+_f0>_ef){_ed=_ef-_f0-30;}if(_ed<0){_ed=0;}_dd.style.left=_ed+"px";_dd.style.top=_ee+"px";_dd.style.display="block";};var _f1=function(){if(_dd){window.scrollTo(0,ensureVisible(_dd));}if(_de){window.scrollTo(0,ensureVisible(_de));}};var _f2=function(){_e8();_f1();};var _f3;var _f4;var _f5=new abego.PageWiseRenderer();var _f6=function(_f7){this.itemHtml=store.getTiddlerText("YourSearchItemTemplate");if(!this.itemHtml){_b0("YourSearchItemTemplate not found");}this.place=document.getElementById(_db);if(!this.place){this.place=createTiddlyElement(_f7,"div",_db);}};merge(_f6.prototype,{render:function(_f8,_f9,_fa,_fb){_f3=_fb;_f4=_f9;var _fc=createTiddlyElement(this.place,"div",null,"yourSearchItem");_fc.innerHTML=this.itemHtml;applyHtmlMacros(_fc,null);refreshElements(_fc,null);},endRendering:function(_fd){_f4=null;}});var _fe=function(){if(!_dd||!_de){return;}var _ff=store.getTiddlerText("YourSearchResultTemplate");if(!_ff){_ff="<b>Tiddler YourSearchResultTemplate not found</b>";}_dd.innerHTML=_ff;applyHtmlMacros(_dd,null);refreshElements(_dd,null);var _100=new _f6(_dd);_f5.renderPage(_100);_f2();};_f5.getItemsPerPage=function(){var n=(config.options.chkPreviewText)?abego.toInt(config.options.txtItemsPerPageWithPreview,_d9):abego.toInt(config.options.txtItemsPerPage,_d8);return (n>0)?n:1;};_f5.onPageChanged=function(){_fe();};var _101=function(){if(_de==null||!config.options.chkUseYourSearch){return;}if((_de.value==_dc)&&_dc&&!_e2()){if(_dd&&(_dd.parentNode!=document.body)){document.body.appendChild(_dd);_f2();}else{abego.YourSearch.onShowResult(true);}}};var _102=function(){_e3();_dd=null;_dc=null;};var _103=function(self,e){while(e!=null){if(self==e){return true;}e=e.parentNode;}return false;};var _104=function(e){if(e.target==_de){return;}if(e.target==_df){return;}if(_dd&&_103(_dd,e.target)){return;}_e3();};var _105=function(e){if(e.keyCode==27){_e3();}};addEvent(document,"click",_104);addEvent(document,"keyup",_105);var _106=function(text,_107,_108){_dc=text;_b3(_c5(store,text,_107,_108,"title","excludeSearch"));abego.YourSearch.onShowResult();};var _109=function(_10a,_10b,_10c,_10d,_10e,_10f){_e1();_dc="";var _110=null;var _111=function(txt){if(config.options.chkUseYourSearch){_106(txt.value,config.options.chkCaseSensitiveSearch,config.options.chkRegExpSearch);}else{story.search(txt.value,config.options.chkCaseSensitiveSearch,config.options.chkRegExpSearch);}_dc=txt.value;};var _112=function(e){_111(_de);return false;};var _113=function(e){if(!e){var e=window.event;}_de=this;switch(e.keyCode){case 13:if(e.ctrlKey&&_e0&&_e2()){_e0.onclick.apply(_e0,[e]);}else{_111(this);}break;case 27:if(_e2()){_e3();}else{this.value="";clearMessage();}break;}if(String.fromCharCode(e.keyCode)==this.accessKey||e.altKey){_101();}if(this.value.length<3&&_110){clearTimeout(_110);}if(this.value.length>2){if(this.value!=_dc){if(!config.options.chkUseYourSearch||config.options.chkSearchAsYouType){if(_110){clearTimeout(_110);}var txt=this;_110=setTimeout(function(){_111(txt);},500);}}else{if(_110){clearTimeout(_110);}}}if(this.value.length==0){_e3();}};var _114=function(e){this.select();clearMessage();_101();};var args=_10e.parseParams("list",null,true);var _115=getFlag(args,"buttonAtRight");var _116=getParam(args,"sizeTextbox",this.sizeTextbox);var btn;if(!_115){btn=createTiddlyButton(_10a,this.label,this.prompt,_112);}var txt=createTiddlyElement(null,"input",null,"txtOptionInput searchField",null);if(_10c[0]){txt.value=_10c[0];}txt.onkeyup=_113;txt.onfocus=_114;txt.setAttribute("size",_116);txt.setAttribute("accessKey",this.accessKey);txt.setAttribute("autocomplete","off");if(config.browser.isSafari){txt.setAttribute("type","search");txt.setAttribute("results","5");}else{txt.setAttribute("type","text");}if(_10a){_10a.appendChild(txt);}if(_115){btn=createTiddlyButton(_10a,this.label,this.prompt,_112);}_de=txt;_df=btn;};var _117=function(){_e3();var _118=_b5();var n=_118.length;if(n){var _119=[];for(var i=0;i<n;i++){_119.push(_118[i].title);}story.displayTiddlers(null,_119);}};var _11a=function(_11b,_11c,_11d,_11e){invokeMacro(_11b,"option",_11c,_11d,_11e);var elem=_11b.lastChild;var _11f=elem.onclick;elem.onclick=function(e){var _120=_11f.apply(this,arguments);_fe();return _120;};return elem;};var _121=function(s){var _122=["''","{{{","}}}","//","<<<","/***","***/"];var _123="";for(var i=0;i<_122.length;i++){if(i!=0){_123+="|";}_123+="("+_122[i].escapeRegExp()+")";}return s.replace(new RegExp(_123,"mg"),"").trim();};var _124=function(){var i=_f3;return (i>=0&&i<=9)?(i<9?(i+1):0):-1;};var _125=new abego.LimitedTextRenderer();var _126=function(_127,s,_128){_125.render(_127,s,_128,_b2.getMarkRegExp());};var _129=TiddlyWiki.prototype.saveTiddler;TiddlyWiki.prototype.saveTiddler=function(_12a,_12b,_12c,_12d,_12e,tags,_12f){_129.apply(this,arguments);_102();};var _130=TiddlyWiki.prototype.removeTiddler;TiddlyWiki.prototype.removeTiddler=function(_131){_130.apply(this,arguments);_102();};config.macros.yourSearch={label:"yourSearch",prompt:"Gives access to the current/last YourSearch result",handler:function(_132,_133,_134,_135,_136,_137){if(_134.length==0){return;}var name=_134[0];var func=config.macros.yourSearch.funcs[name];if(func){func(_132,_133,_134,_135,_136,_137);}},tests:{"true":function(){return true;},"false":function(){return false;},"found":function(){return _b6()>0;},"previewText":function(){return config.options.chkPreviewText;}},funcs:{itemRange:function(_138){if(_b6()){var _139=_f5.getLastIndexOnPage();var s="%0 - %1".format([_f5.getFirstIndexOnPage()+1,_139+1]);createTiddlyText(_138,s);}},count:function(_13a){createTiddlyText(_13a,_b6().toString());},query:function(_13b){if(_b2){createTiddlyText(_13b,_b2.toString());}},version:function(_13c){var t="YourSearch %0.%1.%2".format([version.extensions.YourSearchPlugin.major,version.extensions.YourSearchPlugin.minor,version.extensions.YourSearchPlugin.revision]);var e=createTiddlyElement(_13c,"a");e.setAttribute("href","http://tiddlywiki.abego-software.de/#YourSearchPlugin");e.innerHTML="<font color=\"black\" face=\"Arial, Helvetica, sans-serif\">"+t+"<font>";},copyright:function(_13d){var e=createTiddlyElement(_13d,"a");e.setAttribute("href","http://www.abego-software.de");e.innerHTML="<font color=\"black\" face=\"Arial, Helvetica, sans-serif\">© 2005-2008 <b><font color=\"red\">abego</font></b> Software<font>";},newTiddlerButton:function(_13e){if(_b2){var r=abego.parseNewTiddlerCommandLine(_b2.getQueryText());var btn=config.macros.newTiddler.createNewTiddlerButton(_13e,r.title,r.params,"new tiddler","Create a new tiddler based on search text. (Shortcut: Ctrl-Enter; Separators: '.', '#')",null,"text");var _13f=btn.onclick;btn.onclick=function(){_e3();_13f.apply(this,arguments);};_e0=btn;}},linkButton:function(_140,_141,_142,_143,_144,_145){if(_142<2){return;}var _146=_142[1];var text=_142<3?_146:_142[2];var _147=_142<4?text:_142[3];var _148=_142<5?null:_142[4];var btn=createTiddlyButton(_140,text,_147,_e4,null,null,_148);btn.setAttribute("tiddlyLink",_146);},closeButton:function(_149,_14a,_14b,_14c,_14d,_14e){var _14f=createTiddlyButton(_149,"close","Close the Search Results (Shortcut: ESC)",_e3);},openAllButton:function(_150,_151,_152,_153,_154,_155){var n=_b6();if(n==0){return;}var _156=n==1?"open tiddler":"open all %0 tiddlers".format([n]);var _157=createTiddlyButton(_150,_156,"Open all found tiddlers (Shortcut: Alt-O)",_117);_157.setAttribute("accessKey","O");},naviBar:function(_158,_159,_15a,_15b,_15c,_15d){_f5.addPageNavigation(_158);},"if":function(_15e,_15f,_160,_161,_162,_163){if(_160.length<2){return;}var _164=_160[1];var _165=(_164=="not");if(_165){if(_160.length<3){return;}_164=_160[2];}var test=config.macros.yourSearch.tests[_164];var _166=false;try{if(test){_166=test(_15e,_15f,_160,_161,_162,_163)!=_165;}else{_166=(!eval(_164))==_165;}}catch(ex){}if(!_166){_15e.style.display="none";}},chkPreviewText:function(_167,_168,_169,_16a,_16b,_16c){var _16d=_169.slice(1).join(" ");var elem=_11a(_167,"chkPreviewText",_16a,_16c);elem.setAttribute("accessKey","P");elem.title="Show text preview of found tiddlers (Shortcut: Alt-P)";return elem;}}};config.macros.foundTiddler={label:"foundTiddler",prompt:"Provides information on the tiddler currently processed on the YourSearch result page",handler:function(_16e,_16f,_170,_171,_172,_173){var name=_170[0];var func=config.macros.foundTiddler.funcs[name];if(func){func(_16e,_16f,_170,_171,_172,_173);}},funcs:{title:function(_174,_175,_176,_177,_178,_179){if(!_f4){return;}var _17a=_124();var _17b=_17a>=0?"Open tiddler (Shortcut: Alt-%0)".format([_17a.toString()]):"Open tiddler";var btn=createTiddlyButton(_174,null,_17b,_e4,null);btn.setAttribute("tiddlyLink",_f4.title);btn.setAttribute("withHilite","true");_126(btn,_f4.title,_d4);if(_17a>=0){btn.setAttribute("accessKey",_17a.toString());}},tags:function(_17c,_17d,_17e,_17f,_180,_181){if(!_f4){return;}_126(_17c,_f4.getTags(),_d5);},text:function(_182,_183,_184,_185,_186,_187){if(!_f4){return;}_126(_182,_121(_f4.text),_d6);},field:function(_188,_189,_18a,_18b,_18c,_18d){if(!_f4){return;}var name=_18a[1];var len=_18a.length>2?abego.toInt(_18a[2],_d7):_d7;var v=store.getValue(_f4,name);if(v){_126(_188,_121(v),len);}},number:function(_18e,_18f,_190,_191,_192,_193){var _194=_124();if(_194>=0){var text="%0)".format([_194.toString()]);createTiddlyElement(_18e,"span",null,"shortcutNumber",text);}}}};var opts={chkUseYourSearch:true,chkPreviewText:true,chkSearchAsYouType:true,chkSearchInTitle:true,chkSearchInText:true,chkSearchInTags:true,chkSearchExtendedFields:true,txtItemsPerPage:_d8,txtItemsPerPageWithPreview:_d9};for(var n in opts){if(config.options[n]==undefined){config.options[n]=opts[n];}}config.shadowTiddlers.AdvancedOptions+="\n<<option chkUseYourSearch>> Use 'Your Search' //([[more options|YourSearch Options]]) ([[help|YourSearch Help]])// ";config.shadowTiddlers["YourSearch Help"]="!Field Search\nWith the Field Search you can restrict your search to certain fields of a tiddler, e.g"+" only search the tags or only the titles. The general form is //fieldname//'':''//textToSearch// (e."+"g. {{{title:intro}}}). In addition one-character shortcuts are also supported for the standard field"+"s {{{title}}}, {{{text}}} and {{{tags}}}:\n|!What you want|!What you type|!Example|\n|Search ''titles "+"only''|start word with ''!''|{{{!jonny}}} (shortcut for {{{title:jonny}}})|\n|Search ''contents/text "+"only''|start word with ''%''|{{{%football}}} (shortcut for {{{text:football}}})|\n|Search ''tags only"+"''|start word with ''#''|{{{#Plugin}}} (shortcut for {{{tags:Plugin}}})|\n\nUsing this feature you may"+" also search the extended fields (\"Metadata\") introduced with TiddlyWiki 2.1, e.g. use {{{priority:1"+"}}} to find all tiddlers with the priority field set to \"1\".\n\nYou may search a word in more than one"+" field. E.g. {{{!#Plugin}}} (or {{{title:tags:Plugin}}} in the \"long form\") finds tiddlers containin"+"g \"Plugin\" either in the title or in the tags (but does not look for \"Plugin\" in the text). \n\n!Boole"+"an Search\nThe Boolean Search is useful when searching for multiple words.\n|!What you want|!What you "+"type|!Example|\n|''All words'' must exist|List of words|{{{jonny jeremy}}} (or {{{jonny and jeremy}}}"+")|\n|''At least one word'' must exist|Separate words by ''or''|{{{jonny or jeremy}}}|\n|A word ''must "+"not exist''|Start word with ''-''|{{{-jonny}}} (or {{{not jonny}}})|\n\n''Note:'' When you specify two"+" words, separated with a space, YourSearch finds all tiddlers that contain both words, but not neces"+"sarily next to each other. If you want to find a sequence of word, e.g. '{{{John Brown}}}', you need"+" to put the words into quotes. I.e. you type: {{{\"john brown\"}}}.\n\nUsing parenthesis you may change "+"the default \"left to right\" evaluation of the boolean search. E.g. {{{not (jonny or jeremy)}}} finds"+" all tiddlers that contain neither \"jonny\" nor \"jeremy. In contrast to this {{{not jonny or jeremy}}"+"} (i.e. without parenthesis) finds all tiddlers that either don't contain \"jonny\" or that contain \"j"+"eremy\".\n\n!'Exact Word' Search\nBy default a search result all matches that 'contain' the searched tex"+"t. E.g. if you search for {{{Task}}} you will get all tiddlers containing 'Task', but also '~Complet"+"edTask', '~TaskForce' etc.\n\nIf you only want to get the tiddlers that contain 'exactly the word' you"+" need to prefix it with a '='. E.g. typing '=Task' will find the tiddlers that contain the word 'Tas"+"k', ignoring words that just contain 'Task' as a substring.\n\n!~CaseSensitiveSearch and ~RegExpSearch"+"\nThe standard search options ~CaseSensitiveSearch and ~RegExpSearch are fully supported by YourSearc"+"h. However when ''~RegExpSearch'' is on Filtered and Boolean Search are disabled.\n\nIn addition you m"+"ay do a \"regular expression\" search even with the ''~RegExpSearch'' set to false by directly enterin"+"g the regular expression into the search field, framed with {{{/.../}}}. \n\nExample: {{{/m[ae][iy]er/"+"}}} will find all tiddlers that contain either \"maier\", \"mayer\", \"meier\" or \"meyer\".\n\n!~JavaScript E"+"xpression Filtering\nIf you are familiar with JavaScript programming and know some TiddlyWiki interna"+"ls you may also use JavaScript expression for the search. Just enter a JavaScript boolean expression"+" into the search field, framed with {{{ { ... } }}}. In the code refer to the variable tiddler and e"+"valuate to {{{true}}} when the given tiddler should be included in the result. \n\nExample: {{{ { tidd"+"ler.modified > new Date(\"Jul 4, 2005\")} }}} returns all tiddler modified after July 4th, 2005.\n\n!Com"+"bined Search\nYou are free to combine the various search options. \n\n''Examples''\n|!What you type|!Res"+"ult|\n|{{{!jonny !jeremy -%football}}}|all tiddlers with both {{{jonny}}} and {{{jeremy}}} in its tit"+"les, but no {{{football}}} in content.|\n|{{{#=Task}}}|All tiddlers tagged with 'Task' (the exact wor"+"d). Tags named '~CompletedTask', '~TaskForce' etc. are not considered.|\n\n!Access Keys\nYou are encour"+"aged to use the access keys (also called \"shortcut\" keys) for the most frequently used operations. F"+"or quick reference these shortcuts are also mentioned in the tooltip for the various buttons etc.\n\n|"+"!Key|!Operation|\n|{{{Alt-F}}}|''The most important keystroke'': It moves the cursor to the search in"+"put field so you can directly start typing your query. Pressing {{{Alt-F}}} will also display the pr"+"evious search result. This way you can quickly display multiple tiddlers using \"Press {{{Alt-F}}}. S"+"elect tiddler.\" sequences.|\n|{{{ESC}}}|Closes the [[YourSearch Result]]. When the [[YourSearch Resul"+"t]] is already closed and the cursor is in the search input field the field's content is cleared so "+"you start a new query.|\n|{{{Alt-1}}}, {{{Alt-2}}},... |Pressing these keys opens the first, second e"+"tc. tiddler from the result list.|\n|{{{Alt-O}}}|Opens all found tiddlers.|\n|{{{Alt-P}}}|Toggles the "+"'Preview Text' mode.|\n|{{{Alt-'<'}}}, {{{Alt-'>'}}}|Displays the previous or next page in the [[Your"+"Search Result]].|\n|{{{Return}}}|When you have turned off the 'as you type' search mode pressing the "+"{{{Return}}} key actually starts the search (as does pressing the 'search' button).|\n\n//If some of t"+"hese shortcuts don't work for you check your browser if you have other extensions installed that alr"+"eady \"use\" these shortcuts.//";config.shadowTiddlers["YourSearch Options"]="|>|!YourSearch Options|\n|>|<<option chkUseYourSearch>> Use 'Your Search'|\n|!|<<option chkPreviewText"+">> Show Text Preview|\n|!|<<option chkSearchAsYouType>> 'Search As You Type' Mode (No RETURN required"+" to start search)|\n|!|Default Search Filter:<<option chkSearchInTitle>>Title ('!') <<option chk"+"SearchInText>>Text ('%') <<option chkSearchInTags>>Tags ('#') <<option chkSearchExtendedFiel"+"ds>>Extended Fields<html><br><font size=\"-2\">The fields of a tiddlers that are searched when you don"+"'t explicitly specify a filter in the search text <br>(Explictly specify fields using one or more '!"+"', '%', '#' or 'fieldname:' prefix before the word/text to find).</font></html>|\n|!|Number of items "+"on search result page: <<option txtItemsPerPage>>|\n|!|Number of items on search result page with pre"+"view text: <<option txtItemsPerPageWithPreview>>|\n";config.shadowTiddlers["YourSearchStyleSheet"]="/***\n!~YourSearchResult Stylesheet\n***/\n/*{{{*/\n.yourSearchResult {\n\tposition: absolute;\n\twidth: 800"+"px;\n\n\tpadding: 0.2em;\n\tlist-style: none;\n\tmargin: 0;\n\n\tbackground: #ffd;\n\tborder: 1px solid DarkGra"+"y;\n}\n\n/*}}}*/\n/***\n!!Summary Section\n***/\n/*{{{*/\n.yourSearchResult .summary {\n\tborder-bottom-width:"+" thin;\n\tborder-bottom-style: solid;\n\tborder-bottom-color: #999999;\n\tpadding-bottom: 4px;\n}\n\n.yourSea"+"rchRange, .yourSearchCount, .yourSearchQuery {\n\tfont-weight: bold;\n}\n\n.yourSearchResult .summary ."+"button {\n\tfont-size: 10px;\n\n\tpadding-left: 0.3em;\n\tpadding-right: 0.3em;\n}\n\n.yourSearchResult .summa"+"ry .chkBoxLabel {\n\tfont-size: 10px;\n\n\tpadding-right: 0.3em;\n}\n\n/*}}}*/\n/***\n!!Items Area\n***/\n/*{{{*"+"/\n.yourSearchResult .marked {\n\tbackground: none;\n\tfont-weight: bold;\n}\n\n.yourSearchItem {\n\tmargin-to"+"p: 2px;\n}\n\n.yourSearchNumber {\n\tcolor: #808080;\n}\n\n\n.yourSearchTags {\n\tcolor: #008000;\n}\n\n.yourSearc"+"hText {\n\tcolor: #808080;\n\tmargin-bottom: 6px;\n}\n\n/*}}}*/\n/***\n!!Footer\n***/\n/*{{{*/\n.yourSearchFoote"+"r {\n\tmargin-top: 8px;\n\tborder-top-width: thin;\n\tborder-top-style: solid;\n\tborder-top-color: #999999;"+"\n}\n\n.yourSearchFooter a:hover{\n\tbackground: none;\n\tcolor: none;\n}\n/*}}}*/\n/***\n!!Navigation Bar\n***/"+"\n/*{{{*/\n.yourSearchNaviBar a {\n\tfont-size: 16px;\n\tmargin-left: 4px;\n\tmargin-right: 4px;\n\tcolor: bla"+"ck;\n\ttext-decoration: underline;\n}\n\n.yourSearchNaviBar a:hover {\n\tbackground-color: none;\n}\n\n.yourSe"+"archNaviBar .prev {\n\tfont-weight: bold;\n\tcolor: blue;\n}\n\n.yourSearchNaviBar .currentPage {\n\tcolor: #"+"FF0000;\n\tfont-weight: bold;\n\ttext-decoration: none;\n}\n\n.yourSearchNaviBar .next {\n\tfont-weight: bold"+";\n\tcolor: blue;\n}\n/*}}}*/\n";config.shadowTiddlers["YourSearchResultTemplate"]="<!--\n{{{\n-->\n<span macro=\"yourSearch if found\">\n<!-- The Summary Header ============================"+"================ -->\n<table class=\"summary\" border=\"0\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\">"+"<tbody>\n <tr>\n\t<td align=\"left\">\n\t\tYourSearch Result <span class=\"yourSearchRange\" macro=\"yourSearc"+"h itemRange\"></span>\n\t\t of <span class=\"yourSearchCount\" macro=\"yourSearch count\"></span>\n"+"\t\tfor <span class=\"yourSearchQuery\" macro=\"yourSearch query\"></span>\n\t</td>\n\t<td class=\"yourSea"+"rchButtons\" align=\"right\">\n\t\t<span macro=\"yourSearch chkPreviewText\"></span><span class=\"chkBoxLabel"+"\">preview text</span>\n\t\t<span macro=\"yourSearch newTiddlerButton\"></span>\n\t\t<span macro=\"yourSearch openAllButton\"></span>\n\t\t<span macro=\"yourSearch lin"+"kButton 'YourSearch Options' options 'Configure YourSearch'\"></span>\n\t\t<span macro=\"yourSearch linkB"+"utton 'YourSearch Help' help 'Get help how to use YourSearch'\"></span>\n\t\t<span macro=\"yourSearch clo"+"seButton\"></span>\n\t</td>\n </tr>\n</tbody></table>\n\n<!-- The List of Found Tiddlers ================="+"=========================== -->\n<div id=\"yourSearchResultItems\" itemsPerPage=\"25\" itemsPerPageWithPr"+"eview=\"10\"></div>\n\n<!-- The Footer (with the Navigation) ==========================================="+"= -->\n<table class=\"yourSearchFooter\" border=\"0\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\"><tbody"+">\n <tr>\n\t<td align=\"left\">\n\t\tResult page: <span class=\"yourSearchNaviBar\" macro=\"yourSearch naviBar"+"\"></span>\n\t</td>\n\t<td align=\"right\"><span macro=\"yourSearch version\"></span>, <span macro=\"yourSearc"+"h copyright\"></span>\n\t</td>\n </tr>\n</tbody></table>\n<!-- end of the 'tiddlers found' case ========="+"================================== -->\n</span>\n\n\n<!-- The \"No tiddlers found\" case ================="+"========================== -->\n<span macro=\"yourSearch if not found\">\n<table class=\"summary\" border="+"\"0\" width=\"100%\" cellspacing=\"0\" cellpadding=\"0\"><tbody>\n <tr>\n\t<td align=\"left\">\n\t\tYourSearch Resu"+"lt: No tiddlers found for <span class=\"yourSearchQuery\" macro=\"yourSearch query\"></span>.\n\t</td>\n\t<t"+"d class=\"yourSearchButtons\" align=\"right\">\n\t\t<span macro=\"yourSearch newTiddlerButton\"></span>\n\t\t<span macro=\"yourSearch linkButton 'YourSearch Options'"+" options 'Configure YourSearch'\"></span>\n\t\t<span macro=\"yourSearch linkButton 'YourSearch Help' help"+" 'Get help how to use YourSearch'\"></span>\n\t\t<span macro=\"yourSearch closeButton\"></span>\n\t</td>\n <"+"/tr>\n</tbody></table>\n</span>\n\n\n<!--\n}}}\n-->\n";config.shadowTiddlers["YourSearchItemTemplate"]="<!--\n{{{\n-->\n<span class='yourSearchNumber' macro='foundTiddler number'></span>\n<span class='yourSea"+"rchTitle' macro='foundTiddler title'/></span> - \n<span class='yourSearchTags' macro='found"+"Tiddler field tags 50'/></span>\n<span macro=\"yourSearch if previewText\"><div class='yourSearchText' macro='fo"+"undTiddler field text 250'/></div></span>\n<!--\n}}}\n-->";config.shadowTiddlers["YourSearch"]="<<tiddler [[YourSearch Help]]>>";config.shadowTiddlers["YourSearch Result"]="The popup-like window displaying the result of a YourSearch query.";config.macros.search.handler=_109;var _195=function(){if(config.macros.search.handler!=_109){alert("Message from YourSearchPlugin:\n\n\nAnother plugin has disabled the 'Your Search' features.\n\n\nYou may "+"disable the other plugin or change the load order of \nthe plugins (by changing the names of the tidd"+"lers)\nto enable the 'Your Search' features.");}};setTimeout(_195,5000);abego.YourSearch.getStandardRankFunction=function(){return _bb;};abego.YourSearch.getRankFunction=function(){return abego.YourSearch.getStandardRankFunction();};abego.YourSearch.getCurrentTiddler=function(){return _f4;};abego.YourSearch.closeResult=function(){_e3();};abego.YourSearch.getFoundTiddlers=function(){return _b1;};abego.YourSearch.getQuery=function(){return _b2;};abego.YourSearch.onShowResult=function(_196){highlightHack=_b2?_b2.getMarkRegExp():null;if(!_196){_f5.setItems(_b5());}if(!_dd){_dd=createTiddlyElement(document.body,"div",_da,"yourSearchResult");}else{if(_dd.parentNode!=document.body){document.body.appendChild(_dd);}}_fe();highlightHack=null;};})();}
//%/
<<forEachTiddler
where 'store.getValue(tiddler, "au") &&
store.getValue(tiddler, "au").substr(0, 1).toLowerCase() == "$1"'
sortBy 'tiddler.fields["au"]'
write '"* " + tiddler.fields["au"] + " – "
+ "[[" + tiddler.title + "]]\n"'
>>
[[Campbell, Joseph]] [[Cervantes Saavedra, Miguel de]] [[Edinger, Edward F.]] [[Eliot, T. S.]] [[Franz, Marie Louise von]] [[Freud, Sigmund]] [[Fry, Northrop]] [[Giegerich, Wolfgang]] [[Grimm Brothers]] [[Guattari, Félix]] [[Hardy, Thomas]] Heidegger [[Hillman, James]] Homer [[Jung, C. G.]] [[Kafka, Franz]] [[Morrison, Toni]] Ovid [[Plath, Sylvia]] [[Ricoeur, Paul]] [[Romanyshyn, Robert]] [[Tolkien, J. R. R.]] Shakespeare [[Sharp, William]] [[Turner, Victor]] [[Twain, Mark]]
<tabs titletabs>
<tab A>
<<tiddler au with:a>>
</tab>
<tab B>
<<tiddler au with:b>>
</tab>
<tab C>
<<tiddler au with:c>>
</tab>
<tab D>
<<tiddler au with:d>>
</tab>
<tab E>
<<tiddler au with:e>>
</tab>
<tab F>
<<tiddler au with:f>>
</tab>
<tab G>
<<tiddler au with:g>>
</tab>
<tab H>
<<tiddler au with:h>>
</tab>
<tab I>
<<tiddler au with:i>>
</tab>
<tab J>
<<tiddler au with:j>>
</tab>
<tab K>
<<tiddler au with:k>>
</tab>
<tab L>
<<tiddler au with:l>>
</tab>
<tab M>
<<tiddler au with:m>>
</tab>
<tab N>
<<tiddler au with:n>>
</tab>
<tab O>
<<tiddler au with:o>>
</tab>
<tab P>
<<tiddler au with:p>>
</tab>
<tab Q>
<<tiddler au with:q>>
</tab>
<tab R>
<<tiddler au with:r>>
</tab>
<tab S>
<<tiddler au with:s>>
</tab>
<tab T>
<<tiddler au with:t>>
</tab>
<tab U>
<<tiddler au with:u>>
</tab>
<tab V>
<<tiddler au with:v>>
</tab>
<tab W>
<<tiddler au with:w>>
</tab>
<tab X>
<<tiddler au with:x>>
</tab>
<tab Y>
<<tiddler au with:y>>
</tab>
<tab Z>
<<tiddler au with:z>>
</tab>
</tabs>
<tabs mytabs>
<tab A>
<<tiddler ti with:A>>
</tab>
<tab B>
<<tiddler ti with:B>>
</tab>
<tab C>
<<tiddler ti with:C>>
</tab>
<tab D>
<<tiddler ti with:D>>
</tab>
<tab E>
<<tiddler ti with:E>>
</tab>
<tab F>
<<tiddler ti with:F>>
</tab>
<tab G>
<<tiddler ti with:G>>
</tab>
<tab H>
<<tiddler ti with:H>>
</tab>
<tab I>
<<tiddler ti with:I>>
</tab>
<tab J>
<<tiddler ti with:J>>
</tab>
<tab K>
<<tiddler ti with:K>>
</tab>
<tab L>
<<tiddler ti with:L>>
</tab>
<tab M>
<<tiddler ti with:M>>
</tab>
<tab N>
<<tiddler ti with:N>>
</tab>
<tab O>
<<tiddler ti with:O>>
</tab>
<tab P>
<<tiddler ti with:P>>
</tab>
<tab Q>
<<tiddler ti with:Q>>
</tab>
<tab R>
<<tiddler ti with:R>>
</tab>
<tab S>
<<tiddler ti with:S>>
</tab>
<tab T>
<<tiddler ti with:T>>
</tab>
<tab U>
<<tiddler ti with:U>>
</tab>
<tab V>
<<tiddler ti with:V>>
</tab>
<tab W>
<<tiddler ti with:W>>
</tab>
<tab X>
<<tiddler ti with:X>>
</tab>
<tab Y>
<<tiddler ti with:Y>>
</tab>
<tab Z>
<<tiddler ti with:Z>>
</tab>
</tabs>
<tabs Typetabs>
<tab Theoretical>
<<tiddler Theoretical1>>
</tab>
<tab Production>
<<tiddler production1>>
</tab>
<tab Humanistic & Social Science>
<<tiddler [[Humanistic & Social Science1]]>>
</tab>
</tabs>
<tabs txtMyTabset>
<tab 1998>
<<tiddler yr with:1998>>
</tab>
<tab 1999>
<<tiddler yr with:1999>>
</tab>
<tab 2000>
<<tiddler yr with:2000>>
</tab>
<tab 2001>
<<tiddler yr with:2001>>
</tab>
<tab 2002>
<<tiddler yr with:2002>>
</tab>
<tab 2003>
<<tiddler yr with:2003>>
</tab>
<tab 2004>
<<tiddler yr with:2004>>
</tab>
<tab 2005>
<<tiddler yr with:2005>>
</tab>
<tab 2006>
<<tiddler yr with:2006>>
</tab>
<tab 2007>
<<tiddler yr with:2007>>
</tab>
<tab 2008>
<<tiddler yr with:2008>>
</tab>
<tab 2009>
<<tiddler yr with:2009>>
</tab>
<tab 2010>
<<tiddler yr with:2010>>
</tab>
<tab 2011>
<<tiddler yr with:2011>>
</tab>
</tabs>
Adam [[absence of myth]] Aeneas aesthetics ancestors androgyny anima [[animal guides]] animus [[Anna and Joachim]] Aphrodite Apollo Ariadne Artemis Aruru Athena Atum ba [[biblical women]] Baccae birds [[Bone Mother]] [[call to adventure]] Celtic centaur Chiron Christianity [[Clare of Assisi]] Clio clown combat coniunctio Creator critic crone cyborgs dance Demeter desire Dionysos dolls [[Don Quixote]] donkey Draupadi dualism dying earth Echo Electra elements emptiness Ennead Eros Eurydice Eve exile fairy tales farmer fate Faust Feminine feminism fire fligh frogs frontier friendship Genesis genocide giants Gilgamesh God God-image Goddess goddesses grace graffiti Grandmother [[Great Mother]] [[Greek mythology]] grotesque Hades Hagar happiness [[Harry Potter]] healing heart hearth Hecate Hekate Helen Hephaistos [[hieros gamos]] Hera heretic hermaphrodites Hermes hero [[hero's journey]] heroine heroism Hesiod Hestia [[hidden god]] [[hieros gamos]] [[holotropic breathwork]] [[Holy Grail]] home Homer horse hunter iconography [[illuminated manuscripts]] imagination impermanence Inanna incest individuation initiation Innana inwardness Iphigenia Iris Irish mythology Isis Jacob [[Japanese mythology]] Jesus [[Jewish scriptures]] [[King David]] King/Queen [[Korean myths]] [[Kuan Yin]] landscape lawmaker leadership light Lilith [[Little Red Riding Hood]] logos longing love lover Maat Macbeth madness magician maiden mandala Mantis marriage Mary [[Master of the Animals]] Medea medicine meditation memoir memory Mercurius Messiah metaphor minotaur Mnemosyne [[Moby-Dick]] monism mother mountains muse music [[mythic narratives]] mytho-ceramic mythophysiology Narcissus narrative nature [[near-death experiences]] neolithic neoshamanism numinous nurse Nut Odysseus Odyssey Okinawa oneness opposites orphan Orpheus [[Orthodox Christianity]] Otherworld pain Pandora para-reality partnership pathologizing patriarchy peacemaker pedagogy Pegasus Persephone [[personal myth]] Phaethon philanthropy place planter play poetics polarities [[polycentric identity]] polytheism [[Pope Joan]] prayer [[prehistoric figurines]] Prometheus pseudoinnocence Psyche psychopomp [[puella aeterna]] punctuation purse queen [[Queer culture]] [[rainbow deities]] rebirth return reverie Rhea rhythm [[rites of passage]] ritual [[rock art]] Ryukyu [[sacred space]] sacrifice sage [[Sarah (Biblical matriarch)]] Saturn scapegoating Self sexuality shadow Shakespeare shalom shaman shamanism Sekhmet siblings Silenus singing Sita sojourner solitude Sophia soul soul-retrieval sound [[Southern culture]] [[speculative fiction]] story storytelling Tammuz Tanakh tattoos technology Themis Theseus Thoth time Titanism Titans torture totalitarianism tragedy transformation trauma travel [[Tree of Life]] trickster uncanny unconscious underworld unity [[Vietnam veterans]] violence voice walkabout wanderer warrior water [[water creatures]] weaving [[Weird Sisters [[Welsh mythology]] [[Western worldview]] wholeness wilderness wind witches witness wolf wolves women work [[world wide web]] [[wounded artist]] wrinkles
<<forEachTiddler
where 'store.getValue(tiddler, "au") &&
store.getValue(tiddler, "au").substr(0, 1).toLowerCase()'
sortBy 'tiddler.fields["au"]'
write '"* " + tiddler.fields["au"] + " " + tiddler.fields["yr"] + " – "
+ "[[" + tiddler.title + "]]\n"'
>>
<<forEachTiddler
where
'tiddler.title.replace(/^(A|An|The) /,"").substr(0,1).toUpperCase()=="$1" && tiddler.tags.contains("o")'
sortBy
'tiddler.title.replace(/^(A|An|The) /,"").toUpperCase()'>>
/***
|Name|ToggleSideBarMacro|
|Created by|SaqImtiaz|
|Location|http://tw.lewcid.org/#ToggleSideBarMacro|
|Version|1.0|
|Requires|~TW2.x|
!Code
***/
//{{{
config.macros.toggleSideBar={};
config.macros.toggleSideBar.settings={
styleHide : "#sidebar { display: none;}\n"+"#contentWrapper #displayArea { margin-right: 1em;}\n"+"",
styleShow : " ",
arrow1: "«",
arrow2: "»"
};
config.macros.toggleSideBar.handler=function (place,macroName,params,wikifier,paramString,tiddler)
{
var tooltip= params[1]||'toggle sidebar';
var mode = (params[2] && params[2]=="hide")? "hide":"show";
var arrow = (mode == "hide")? this.settings.arrow1:this.settings.arrow2;
var label= (params[0]&¶ms[0]!='.')?params[0]+" "+arrow:arrow;
var theBtn = createTiddlyButton(place,label,tooltip,this.onToggleSideBar,"button HideSideBarButton");
if (mode == "hide")
{
(document.getElementById("sidebar")).setAttribute("toggle","hide");
setStylesheet(this.settings.styleHide,"ToggleSideBarStyles");
}
};
config.macros.toggleSideBar.onToggleSideBar = function(){
var sidebar = document.getElementById("sidebar");
var settings = config.macros.toggleSideBar.settings;
if (sidebar.getAttribute("toggle")=='hide')
{
setStylesheet(settings.styleShow,"ToggleSideBarStyles");
sidebar.setAttribute("toggle","show");
this.firstChild.data= (this.firstChild.data).replace(settings.arrow1,settings.arrow2);
}
else
{
setStylesheet(settings.styleHide,"ToggleSideBarStyles");
sidebar.setAttribute("toggle","hide");
this.firstChild.data= (this.firstChild.data).replace(settings.arrow2,settings.arrow1);
}
return false;
}
setStylesheet(".HideSideBarButton .button {font-weight:bold; padding: 0 5px;}\n","ToggleSideBarButtonStyles");
//}}}
<<forEachTiddler
where
'tiddler.tags.contains("$1")'
sortBy 'tiddler.fields["au"]'
write '"* " + tiddler.fields["au"] + " (" + tiddler.fields["yr"] + ")" + ". " + "[[" + tiddler.title + "]].\n"'
>>
<<forEachTiddler
where
'tiddler.title.replace(/^(A|An|The) /,"").substr(0,1).toUpperCase()&& store.getValue(tiddler, "yr") == "$1"'
sortBy
'tiddler.title.replace(/^(A|An|The) /,"").toUpperCase()'>>
<<forEachTiddler
where
'tiddler.title.replace(/^(A|An|The) /,"").substr(0,1).toUpperCase()&& store.getValue(tiddler, "yr") == "$1"'
sortBy
'tiddler.title.replace(/^(A|An|The) /,"").toUpperCase() && tiddler.fields["au"]'
write '"* " + tiddler.fields["au"] + " – "
+ "[[" + tiddler.title + "]]\n"'
>>