Narratives Of Individuation

In Narratives of Individuation, Raya A. Jones and Leslie Gardner present 12 cutting-edge essays that bridge Jungian and narrative approaches to self-understanding, and offer critical appraisal of both approaches. Exploring the Jungian concept of individuation and the related interest in dreams, as well as the premise of the narrative self and the related interest in life-stories, this innovative volume interprets the topic in unique and unprecedented ways. An outstanding selection of contributors cover several overarching themes to provide a comprehensive understanding of these two powerful narratives. The contributors explore historical and conceptual issues concerning the narrative self, as well as applying it, including to Jung’s autobiography. Chapters also examine how Jung developed his theory of individuation, and engage with contemporary thinking in anthropology, psychology (including the dialogical self) and Jungian psychotherapy, towards refiguring how people arrive at self-understanding. Written by leaders in the field, Narratives of Individuation is a valuable interdisciplinary resource that illuminates a multitude of perspectives on individuation and self-realisation. Owing to its original ideas and breadth of scope, Narratives of Individuation will appeal to academics and students of Jungian and post-Jungian studies, anthropology, psychology, literary studies and anyone examining concepts of selfhood and the significance of narrativity. It will also be of great interest to Jungian analysts and psychotherapists, and analytical psychologists.

Jungian Theory for Storytellers is a toolkit for anyone using Jungian archetypes to create stories in fiction, TV, film, video games, documentaries, poetry, and many other media. It contains a detailed classification of the archetypes, with relevant examples, and explains how they work in different types of narratives. Importantly, Bassil-Morozow explores archetypes and their significance in characterization, individuation, plot and story-building. Bassil-Morozow also presents an overview of Jung’s thoughts on creativity and other Jungian concepts, including the unconscious, ego, persona and self and the individuation process, and shows how they are linked to conflict. The book provides an explanation of relevant Jungian terms for a non-Jungian audience and introduces the idea of the hero’s journey, with examples included throughout. Accessibly written yet academic, both practical and engaging, and written with a non-Jungian audience in mind, Jungian Theory for Storytellers is an ideal source for writers and screenwriters of all backgrounds, including academics and teachers, who want to use Jungian theory in their work or are seeking to understand relevant Jungian ideas.

This concise and highly accessible textbook outlines the principles and techniques of storytelling. It is intended as a high-school and college-level introduction to the central concepts of narrative theory – concepts that will aid students in developing their competence not only in analysing and interpreting short stories and novels, but also in writing them. This textbook prioritises clarity over intricacy of theory, equipping its readers with the necessary tools to embark on further study of literature, literary theory and creative writing. Building on a ‘semiotic model of narrative,’ it is structured around the key elements of narratological theory, with chapters on plot, setting, characterisation, and narration, as well as on language and theme – elements which are underrepresented in existing textbooks on narrative theory. The chapter on language constitutes essential reading for those students unfamiliar with rhetoric, while the chapter on theme draws together significant perspectives from contemporary critical theory (including feminism and postcolonialism). This textbook is engaging and easily navigable, with key concepts highlighted and clearly explained, both in the text and in a full glossary located at the end of the book. Throughout the textbook the reader is aided by diagrams, images, quotes from prominent theorists, and instructive examples from classical and popular short stories and novels (such as Jane Austen’s Pride and Prejudice, Franz Kafka’s ‘The Metamorphosis,’ J. K. Rowling’s Harry Potter, or Dostoyevsky’s The Brothers Karamazov, amongst many others). Prose Fiction: An Introduction to the Semiotics of Narrative can either be incorporated as the main textbook into a wider syllabus on narrative theory and creative writing, or it can be used as a supplementary reference book for readers interested in narrative fiction. The textbook is a must-read for beginning students of narratology, especially those with no or limited prior experience in this area. It is of especial relevance to English and Humanities major students in Asia, for whom it was conceived and written.

What is lesbian literature? Must it contain overtly lesbian characters, and portray them in a positive light? Must the author be overtly (or covertly) lesbian? Does there have to be a lesbian theme and must it be politically acceptable? Marilyn Farwell here examines the work of such writers as Adrienne Rich, Marion Zimmer Bradley, Jeanette Winterson, Gloria Naylor, and Marilyn Hacker to address these questions. Dividing their writings into two genres--the romantic story and the heroic, or quest, story, Farwell addresses some of the most problematic issues at the intersection of literature, sex, gender, and postmodernism. Illustrating how the generational conflict between the lesbian- feminists of twenty years ago and the queer theorists of today stokes the critical fires of contemporary lesbian and literary theory, Heterosexual Plots and Lesbian Narratives concludes by arguing for a broad and generous definition of lesbian writing.

In his account of the individuation process, Carl G. Jung describes a spiritual goal for the individual as well as the collective. That process, as exemplified through archetypes in both literature and film, offers the reader insight into the variety and richness those paths may take. In this highly original book, Phyllis Berdt Kenevan provides an analysis of individuation, and then explores four different individual paths of characters from the stories of Zorba the Greek, House of the Spirits, Crime and Punishment, and Bagdad Cafe. Kenevan then explores ways in which individuation can become a path for the collective, analyzing My Dinner With Andre, Wings of Desire, and various Dostoevsky novels. An engaging and thought-provoking look at archetypes as vehicles for interpretation, Paths of lndividuation in Literature and Film is a must read for courses in personal and social psychology, literary or film interpretation, Jung, and philosophy and psychology.

The Cambridge Companion to Oscar Wilde offers an essential introduction to one of the theatre's most important and enigmatic writers. Although a general overview, the volume also offers some of the latest thinking on the dramatist and his impact on the twentieth century. Part One places Wilde's work within the cultural and historical context of his time and includes an opening essay by Wilde's grandson, Merlin Holland. Further chapters also examine Wilde and the Victorians and his image as a Dandy. Part Two looks at Wilde's essential work as playwright and general writer, including his poetry, critiques, and fiction, and provides detailed analysis of such key works as Salome and The Importance of Being Earnest among others. The third group of essays examines the themes and factors which shaped Wilde's work and includes Wilde and his view of the Victorian woman, Wilde's sexual identities, and interpreting Wilde on stage. This 1997 volume also contains a detailed chronology of Wilde's work, a guide to further reading, and illustrations from important productions.

Within this book, the fields of analytical psychology and sociology combine to examine and explore current social theory and the concept that the author has termed ‘absolute freedom’. This work serves as a vital contribution to contemporary social and psychoanalytic research, unveiling the intricacies of psychological and social dynamics in our current epoch. Stefano Carpani explores the intersection of psychology and sociology, providing a fresh perspective beyond conventional boundaries. It conducts a comparative analysis of C. G. Jung's individuation process and Ulrich Beck's individualization theory, presenting the groundbreaking 'I+I' synthesis. This latter concept acts as a linchpin in deciphering self-identity narratives in the 21st century's dynamic landscape, before the author introduces the concept of absolute freedom, contextualizing it within the multifaceted complexities of contemporary second-late-modern existence. This compelling new book will be of great interest to academics, scholars and students in the fields of analytical psychology, sociology and psychosocial studies.

JUNG AND FRODO: 7 PATHS OF INDIVIDUATION IN THE LORD OF THE RINGS The Lord of the Rings is many things, large and small, but central in the book are the stories of individuation, of transcendence, of all the major characters. Each path is different, each can speak to a different human need. Jung and Frodo identifies 7 psychological paths to maturity and selfhood, each taken by a particular character or pair of characters. These paths are: The Path of Curiosity. At the start, Merry and Pippin care only about creature comforts, but driven by their curiosity, they gradually grow brave and wise. Though In the early parts of the quest, they constantly cause trouble through their monkey-like curiosity, that curiosity leads them to see more of the world than anyone else in the book. The Path of Opposites. Gimli the Dwarf and Legolas the Elf - Earth and Air - are representatives of opposing cultures, which despise each other. Gimli and Legolas grow first to respect, then to love each other, thus providing the possibility of a union of opposites, as their joint time passes from the earth. The Path of the Wizard. The Wizard, already the wisest of the wise, must resist arrogance, serve those less wise, then willingly accept death to save others, as a step toward transformation. Saruman fails this test, while Gandalf passes. Gandalf the Grey becomes Gandalf the White. The Path of the King. The King must lower himself to the level of commoners, before rising once more to his full stature. Boromir fails this test, while Strider/Aragorn passes. He grows stronger and wiser in the process, and is finally crowned King Aragorn. This would have been the ending of any other hero's journey, but not The Lord of the Rings, which is far wiser. There remains the three final great paths: of Gollum, Samwise, and Frodo. Path of Tragic Failure. Driven by greed and avarice, Gollum loses his identity, reduced to nothing but desire for his "precious" ring. Yet, even in failure, even while committing evil, Gollum plays an indispensable part in the Quest. Like a Greek tragic hero, though fated to fail personally, he yet serves greater needs. The Path of Love. Sam's is the simplest, yet the most touching of all paths: his simple loyalty and love for Frodo makes him the single person who never wavers in his task throughout the book. When Frodo can no longer even walk, and will not let Sam carry the Ring, Sam carries Frodo. Then, when Gollum joins them, Frodo's kindness has to be balanced by Sam's stern limits. Ultimately Sam's outcome is the happiest of all those on the Quest: he has been able to see the Elves who so fascinated him, able to serve as Frodo's companion on the greatest of all quests, and finally able to return to his blessed Shire, and his loving Rosie. The Path of Transcendence. Then there is Frodo - and Frodo's path transcends that of any other hero in literature. Seemingly the least, always aware of his own fears, his own limitations, he yet accomplishes more than any of those seemingly greater figures like Elves and Dwarves, Kings and Wizards. Even when the great quest is complete, The Lord of the Rings is wise enough to recognize that there can be no simple happy ending for Frodo. Like Hamlet, Frodo can find no peace on earth. At the end, he is left to find some new answer, some unique way to transcend the limitations of life. All of these paths speak to each of us, some paths more than others. Few of us are forced to take a path as difficult as Frodo's, yet in these strange days when the old passes away, there are some for whom this is the only path that can be followed.

What is the relationship between our conception of humans as producers or creators; as consumers of taste and pleasure; and as creators of value? Combining cultural history, economics, and literary criticism, Regenia Gagnier's new work traces the parallel development of economic and aesthetic theory, offering a shrewd reading of humans as workers and wanters, born of labor and desire. The Insatiability of Human Wants begins during a key transitional moment in aesthetic and economic theory, 1871, when both disciplines underwent a turn from production to consumption models. In economics, an emphasis on the theory of value and the social relations between land, labor, and capital gave way to more individualistic models of consumerism. Similarly, in aesthetics, theories of artistic production or creativity soon bowed to models of taste, pleasure, and reception. Using these developments as a point of departure, Gagnier deftly traces the shift in Western thought from models of production to consumption. From its exploration of early market logic and Kantian thought to its look at the aestheticization of homelessness and our own market boom, The Insatiability of Human Wants invites us to contemplate alternative interpretations of economics, aesthetics, and history itself.