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Character analysis: Symbolism in movies
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Carl Jung is known for his analytical psychology. He believed all people were connected by their collective unconsciousness, which is populated by archetypes. Archetypes are hidden forms and patterns which every human being experiences. Since they are hidden, it is best to look at mythology and religion do deduce the archetypes. In fact, mythology is full of them. Archetypes such as the patriarch, the young man and the trickster can be found in the Greek gods Zeus, Apollo and Hermes. But, can these archetypes also be deduced from moderns stories, such as Star Wars? In this essay I will explore the impact of the archetype the Shadow on the story of Star Wars. One of the most important archetypes in the Jungian theory is the Shadow archetype; the evil inside. The Shadow is part of one’s individual unconsciousness, it represents the negative aspects of one’s personality. The Shadow is in fact a manifestation of a person’s flaw. This archetype, or personality side, begins to form during childhood, Once a child discovers morality and societal rules, the child will try to separate its flaws from …show more content…
According to the theory of Jung, when one’s shadow is repressed long enough it will take over the ego-conciousness. This happens to Anakin when he goes back home to save his mother from the Tusken Raiders, thereby disobeying the Order. When he discovers that his mother has been killed by the Tuskens, he becomes enraged and kills all of the members of the tribe, even the children. After that he flies back to the planet of the republic and the Jedi Order, Coruscant, and speaks with Padmé. During his conversation Anakin once again projects his own shadow onto Obi-Wan; he believes he is an all-powerful Jedi and Obi-Wan is just jealous of him and is trying to hold him back. But after raging at Obi-Wan, Anakin confesses to Padmé that he killed all of the Tuskens and tells her he should be better than
Carl Jung was a disciple of Sigmund Freud, despite the two having conflicting ideas. One of Jung’s most well known and accepted theories was the existence of different types of archetypes in the brain. These include the ego, which is where our conscious awareness and sense of identity reside, and the shadow, which is the part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. In the novel A Separate Peace, by John Knowles, the protagonist Gene exemplifies the shadow, while his friend, Finny, personifies the ego. The author narrates through the shadow, though he clearly supports the ego. However, he also makes it apparent that it is wrong to be dominated by either archetype.
One’s mythology can cause another’s to change. The main one being Boy’s and Dunstan’s: Since the snowball incident Dunstan and Boy have remained friends on the surface, with Boy helping Dunny financially, and Dunny showing up to Boy’s events as the war hero. But Boy’s personal mythology, unlike Dunstan’s, revolves around money and materialism. Boy believes in having a high social status along with a trophy wife. He tries to “make [Leola] into the perfect wife for a rising young entrepreneur in sugar” (124). While Dunstan is haunted everyday of the guilt of Mary’s condition, Boy doesn’t even acknowledge that the event ever occurred. But, because Dunstan is faced by the guilt his entire life, he can embrace his shadow. However, for Boy, his ego has been covering up and pushing away his shadow for most his life. In the end Boy’s shadow is simply to big to accept or overcome, the guilt of sixty years, to big to swallow, is finally eating away at him his has no other choice but to take his own life. Boy’s mythology influences Dunstan’s personal mythology to not care for money and wealth. Carl Jung, creator of Jungian Psychology said, “Everything that irritates us about others can lead us to an understanding of ourselves.” Dunstan stays away from the things that irritate him about Boy, he learns from Boy what life is not about, and is sure not to let himself become like Boy. By
In “The Shadow Effect,” it describes how human portrayal of the persona creates a greater intensity of denial, which increases the darkness in one’s shadow. The darkening of a person's shadow can occur when the individual’s stress, hatred and envy is built up under the mask of the persona. The shadow will become externally visible through the unjustifiable actions of the person. Gene’s unjustifiable actions of intentionally jouncing finny out of the tree is evidence of his shadow overtaking his envy and causing him to maim his best friend. The persona can overtake the individual's true emotions and feelings. In “The analysis of the personality of Maggie”, it states, “If a person is too much addicted to the role he is playing, the other aspects of his personality would be excluded. He will stay in a very tense state because his strong persona is contradicted with his other weak sides in his personality” (Zhu and Han). This describes how the more a person uses their persona, the more suppressed the characteristics of their actual personality will become. The individual will become pleased with the way they present themselves to others and will eventually lose their personality completely. Gene’s persona in A Separate Peace is seen as a hardworking, A plus student. The real characteristics of Gene’s personality are never revealed as a result of the shadow only taking over in times of heated anger or
In Brother Grimm’s “Brother Lustig”, the main character, Brother Lustig, is initially portrayed as an honest, inexperienced and stupid young man, who shares all his possessions with others. For this reason, when analyzing Brother Grimm’s tale form a Jungian psychoanalytic perspective, will become a prime example of a character experiencing individuation, for he eventually becomes a more selfish, cunning and independent person. Through meeting his archetypes, Brother Lustig goes from an honest, stupid and generous person, who shares his wealth and possessions with the less fortunate ones to a cunning, selfish and self-sufficient trickster. Brother Lustig’s burgeoning conscious is demonstrated through an analysis of his Jungian archetypes, with the shapeshifting beggar, acting as his positive shadow, and St. Peter personifying as his symbolic Self.
Sels, Nadia. Myth, Mind, and Metaphor: On the Relation of Mythology and Psychoanalysis. n.p. 2011. Web. 25 Mar 2014.
Furthermore, Campbell explained such patterns by using Carl Jung's theory of the collective unconscious, which he was strongly influenced with. Psychological organs that developed through the evolution, is the idea Jung gave of archetypes (Jung 81). To him they are recurring patterns, images and ideas which all humans inherited in their unconsciousness (Volgar 23). In addition, Campbell described his theory as a reoccurring cycle of pattern consisting of three phases: Departure, Initiation and Return, which he calls The Monomyth (Campbell 28), a deep inner journey of transformation that every hero must go through in order to grow (Voytilla vii).
“In silence, man and shadow met face to face and stopped. Aloud and clearly, breaking that old silence, Ged spoke the shadow’s name and in the same moment the shadow spoke without lips or tongue, saying the same word: ‘Ged.’ And the two voices were one voice. Ged reached out his hands, dropping his staff, and took hold of the shadow, of the black self that reached out to him. Light and darkness met, and joined, and were one...’Estarriol’, he said, ‘look, it is done. It is over...the wound is healed...I am whole, I am free.’” (LeGuin 179-180) On the condition that one succeeds in assimilating and integrating the conscious mind the lost and regained contents. Since they are not neutral, their assimilation will modify the personality, just as they themselves will have to make certain changes. “If we could see our shadow, we should be immune to any moral and mental infection and insinuation.” (Jung 79)
Carl Jung was a Swiss psychologist and psychiatrist who developed many theories concerning the unconscious mind. Jung’s theories state that the unconscious part of a human’s psyche has two different layers, the personal unconscious and the collective unconscious. The personal unconscious is unique to every individual; however, the collective unconscious “is inborn.” (Carl Jung, Four Archetypes, 3) The collective unconscious is present in everyone’s psyche, and it contains archetypes which are “those psychic contents which have not yet been submitted to conscious elaboration” (Jung, Archetypes, 5); they are templates of thought that have been inherited through the collective unconscious. Jung has defined many different archetypes such as the archetype of the mother, the archetype of the hero, the archetype of the shadow, etc. These Jungian archetypes are often projected by the collective unconscious onto others. If the novel A Prayer for Owen Meany by John Irving is examined through a Jungian archetypal lens it is possible to discern different archetypes projected by the protagonist’s unconscious self to illustrate the effects of the collective unconscious on character and plot analysis.
In all the psychology of the personality is difficult to understand, because trying to read what someone is thinking about you and your personality is a tough process. This was roughly and explanation into the view of Freud’s view of the id, ego, and superego and some of the psychoanalysis stages that come in the crazy world and studies of Sigmund Freud. Even though his views are not popular today some people still research them and think to themselves he might not be as weird as people told me he was.
Jung’s subjective nature as well his speculative beliefs in his experiences attempts to discover the relation between objective truth (real), psychology, and spirituality (supernatural). He placed tremendous value on the meaning of personal and collective dreams. Jung considered them prophetic and visionary for the collective nature. Conclusively, Jung’s understood the self as the principle and archetype of orientation and meaning. Jung’s development of self is a concept quite similar to Fromm, Eliade, Frankl and other humanistic driven ideas discussed prior to reach completion, wholeness, absoluteness, in essence to be harmonious with nature (fate).
The Jungian approach was brought about by Carl Jung. He believed in the concept of individuation. This is the process of discovering what makes a person different form everyone else. The Jungian approach looks at one’s self through three aspects. These three aspects are the shadow, the persona, and the anima. This is said to be seen through the idea of an archetype. Jung’s concept of archetype is viewed through a symbol, character, situation, or image that evokes a deep universal response (Guerin). Archetypal literary criticism construes a text by focusing on recurring myths, prototypes and symbolisms in the narrative.
“Everyone carries a shadow, and the less it is embodied in the individual's conscious life, the blacker and denser it is. At all counts, it forms an unconscious snag, thwarting our most well-meant intentions” (Carl Jung). The archetype of the shadow self is the darker, animalistic self that a person represses and is forced into the unconscious by the ego. In Life of Pi by Yann Martel, the protagonist, Piscine Molitor is stranded in the middle of the Pacific with a Bengal tiger. It is on this journey that Pi encounters his shadow self. Unfortunately, in an effort to survive, Pi goes against most of his beliefs; and resorts a level of savagery by giving in to his shadow self, Richard Parker. Thence, Pi’s plight is quite challenging for his fruitarian, gentle, kind hearted persona; therefore, Pi would not have survived if he repudiated his shadow self, projected as Richard Parker.
In order to understand Jung's theory of archetypes, the reader must first have an understanding of the reasoning behind them. Carl G. Jung explains the conscious mind by dividing it into three different psyches: the ego, the personal unconscious, and the collective unconscious. The ego is simply Jung's interpretation of the conscious mind. The personal unconscious is anything that is not presently conscious, but can be. The collective unconscious is a reservoir of human experiences that is passed from generation to generation. It includes the archetypes of self, which are archetypes for different kinds of people or characters in literature (Jung 67). They can be described as things such as déjà vu, or love at first sight. It is the feeling that what is being felt or experienced has been felt or experienced before.
Carl Jung is the father of archetypal criticism and creator of the term collective unconscious. Jung (1875 – 1961) was born in Switzerland and learned from Sigmund Freud, a psychoanalytic critic, before breaking off and creating his own literary theory. Because of his shift to the Archetypal theory, also called mythic criticism, Jung was repelled by the psychoanalytic community, until he came up with the idea of a collective unconscious. “Jung’s ideas caused him to be banished from the psychanalytic community for the next five years. During this time, he formulated his own model of the human psyche, which would become his most important contribution to psychology and literary criticism (Bressler).” The collective unconscious is the common knowledge of themes and archetypes that every human has gained from ancestral memory. This is the bases for Archetypal criticism, the reason for humans being able to recognize archetypes and recurring patterns in literature. Archetypal literary works relate to the beliefs, knowledge, and desires of readers through recognizable themes and archetypes (Bressler 149). Archetypes are universally recognized patterns, characteristics, or objects that invoke similar emotional responses from every person. Archetypes give literary works deeper meaning because
The first theory to be discussed is structuralism, this theory is composed of many different branches. The branches that this paper will be looking into is archetypes. The definition of of archetype is typical images, characters, narrative designs and themes and other literary phenomena. Archetypes have their own form of criticism that is called archetypal criticism. Archetypal criticism means the generic, recurring and conventional elements in literature that cannot be explained through historical influence or tradition.