scholarly journals ABOUT THE APPLICATION OF THE ANALYTICAL AMPLIFICATION METHOD IN THE THERAPY OF A PATIENT WITH BORDERLINE MENTAL DISORDER BASED ON THE FAIRY TALE «GO THERE — I DON'T KNOW WHERE, BRING THAT — I DON'T KNOW WHAT»

Author(s):  
С.Б. Савкина

В данной статье описан фрагмент психотерапевтической работы в парадигме юнгианского анализа с использованием метода амплификации с пациентом, имеющим пограничное расстройство психики. Амплификация — инструмент аналитической работы, введенный в практику К.Г. Юнгом, позволяющий исследовать и интерпретировать явные и скрытые психодинамические процессы через символический язык. По сути процесс амплификации — осмысление индивидуальной психической жизни индивида посредством использования коллективного опыта знаний: мифов, легенд, сказок и т.п. Современная психология, считал Юнг, так или иначе, имеет дело с продуктами бессознательной фантазии - мифологическими и сказочными мотивами, наиболее объективно отражающими динамику психической жизни. «Пользуясь методом мифологической амплификации, мы выбираем те или иные аналогии потому, что их смысловое ядро идентично содержанию исследуемых процессов или в каком-то отношении походит на него. Принимая в качестве данности, что все, когда-либо выраженное человеком в словесной или образной форме, обладает абсолютной психической реальностью, мы можем утверждать, что любая аналогия помогает уточнить, объяснить и подтвердить наше толкование мотивов бессознательных процессов» [4]. В случае с данным пациентом универсально подошла русская народная сказка «Пойди туда — не знаю куда, принеси то — не знаю что» [22]. Опираясь на исследования признанных авторов психоанализа и аналитической психологии, амплификацию этой сказки можно рассматривать как абрис мужского пути индивидуации, «синтетического процесса», описанного К.Г.Юнгом [12]. «Возможной целью, здоровым предназначением ассимилирующих процессов является путь индивидуации, подразумевающий самоосуществление, становление человека самим собой. Индивидуация от лат. in-dividuus означает «неделимый», «неразделенный», «неразведенный», «нерасщепленный» [19]. Индивидуация предполагает достижение психически нового интегрированного состояния, установление устойчивой связи между эго (осознаваемый идентифицированный образ «Я») и архетипом Самости (сложный центр психической жизни, соединяющий бессознательные и сознательные знания человека о себе самом и трансформирующий личность,). Амплификация данной сказки позволяет исследовать внутрипсихическое взаимодействие архетипической пары — маскулинного начала в сознательном поле мужчины и женского в его бессознательном — на разных этапах развития. Подобное взаимодействие отражает реальные отношения с противоположным полом, отзеркаливая внутреннюю/внешнюю мужскую/женскую часть личности. Также данная амплификация дает возможность предположить, что является основным фактором, «запускающим» процесс индивидуации у мужчин. This article describes a fragment of psychotherapeutic work in the paradigm of Jungian analysis using the amplification method with a patient with borderline mental disorder. Amplification is a tool of analytical work introduced into practice by C.G. Jung, which allows to investigate and interpret explicit and hidden psychodynamic processes through symbolic language. In essence, the amplification process is the comprehension of an individual's individual mental life through the use of collective experience of knowledge: myths, legends, fairy tales, etc. «In myths and fairy tales, as in dreams, the soul tells its own story, and the interaction of archetypes is revealed in its natural frame: "creation, re-creation, eternal spirit eternal entertainment»[13]. In the case of this patient, the Russian folk tale «Go there — I don't know where, bring that — I don't know what» was universally suitable [22]. Based on the research of recognized authors of psychoanalysis and analytical psychology, the amplification of this fairy tale can be considered as an outline of the male path of individuation, a «synthetic process» described by C.G. Jung[12]. «A possible goal, a healthy purpose of assimilating processes is the path of individuation, implying self-fulfillment, becoming a person himself. Individuation from Lat. in-dividuus means «indivisible», «undivided» [19]. Individuation presupposes the achievement of a psychically new integrated state, the establishment of a stable connection between the ego (a conscious identified image of the «I») and the archetype of the Self (a complex center of mental life that connects the unconscious and conscious knowledge of a person about himself and transforms the personality). The amplification of this fairy tale allows us to explore the intrapsychic interaction of the archetypal pair — the masculine principle in the conscious field of a man and the female in his unconscious — at different stages of development. Such interaction reflects a real relationship with the opposite sex, mirroring the inner/outer male/female part of the personality. Also, this amplification makes it possible to assume that it is the main factor «triggering» the process of individuation in men.

2021 ◽  
Vol 122 ◽  
pp. 06006
Author(s):  
Liudmila A. Mirskaya ◽  
Victor O. Pigulevskiy

Psychologists often use the name of the protagonist of the fairy tale “Cinderella”, which is famous thanks to the brothers Grimm and Charles Perrault, for a sacrificial girl prone to dissociation, illusions, and waiting for a prince. This is typical for psychoanalysis. However, such an idea of Cinderella’s character does not fully reflect the essence of the matter. Moreover, it is generally not true. From the perspective of C.G. Jung’s analytical psychology, Cinderella is not a victim or an infantile dreamer and is not a real girl at all. Any tale represents an archetypal process of individuation. This is a collective natural constant of the psyche that excludes individual problems. Cinderella cultivated in herself what the ancient Greeks called “paideia” – the integrity of the personality and inner strength, influence on others. The purpose of the article is to describe the process of Cinderella’s individualization from the position of C.G. Jung’s archetypal approach based on the amplification method. The most relevant sources of recent years on the archetypal analysis of fairy tales are the works by M.-L. von Franz, H. Dieckmann, and C.P. Estés. The novelty of the study consists in the description and analysis of the archetypal images of the collective unconscious, which underlie the process of Cinderella’s individuation and determine her life path. These archetypal images are Persona, Self, Shadow, Anima/Animus, and the symbolic levels of the individuation process can be represented by such alchemical terms as “separation”, “multiplication”, “calcination”, “initiation”, “transformation”, “conjunction”, “solidification”. The levels testify to the character’s inner transformation and, as a result, lead to a happy woman’s destiny. The result of understanding the deep essence of the tale is a psychologist’s analytical work with modern young women, which will lead to positive changes in thinking and behavior.


2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar

This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.


Author(s):  
Jack Zipes

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.


2020 ◽  
Vol 13 (2) ◽  
pp. 168
Author(s):  
Rian Damariswara

ABSTRAKTokoh utama dalam dongeng Jawa Timur memiliki sisi lain yang perlu diungkap. Sisi lain tersebut, yakni kecakapan hidup yang dimiliki tokoh utama dalam menyelesaikan masalah yang dihadapinya. Kecakapan hidup tersebut, memiliki relevansi dengan kecakapan hidup di abad ke-21. Jadi, dengan menganalisis kecakapan hidup tokoh utama secara otomatis peneliti dan pembaca dapat mengetahui bahwa tokoh-tokoh dongeng yang terdapat di Jawa Timur memiliki budaya hidup yang baik untuk dijadikan contoh dan motivasi.Untuk mengungkap kecakapan hidup abad ke-21 pada tokoh utama dongeng Jawa Timur menggunakan kajian antropologi sastra.Penelitian ini termasuk deskriptif kualitatif. Sumber data adalah teks dongeng Jawa Timur. Teknik yang digunakan adalah studi dokumenter. Kecakapan hidup abad ke-21 yang ditemukan pada dongeng Jawa Timur sebagai berikut. Pertama, berpikir kritis dan pemecahan masalah. Semua tokoh utama dalam dongeng memiliki pemikiran kritis sehingga dapat memecahkan masalah. Kedua, kreativitas dan inovasi yang ditemukan yakni jenis pengembangan dan sintesis. Inovasi pengembangan yang ditemukan adalah adanya alat bajak sawah dari batu menjadi kayu dan ditarik sapi serta dapat dipergunakan sebagai sarana hiburan. Alat tersebut diberi nama karapan sapi.  Inovasi sintesis adalah menggabungkan segala sesuatu yang dimiliki untuk dijadikan sesuatu yang baru. Seperti pada dongeng Asal Mula Reog Ponorogo,yakni menggabungkan kepala tokoh Singabarong dengan burung merak sehingga dinamakan reog ponorogo. Ketiga, kolaborasi antaranggota dan pemimpin dengan bawahan. Keempat, komunikasi yakni berupa diskusi, pengarahan, berkeluh kesah, dan perintah.Kata kunci: Kecakapan hidup abad ke-21, Tokoh utama, DongengABSTRACTThe main character in the East Java fable has another side that needs to be revealed. The other side, namely the life skills possessed by the main character in solving the problems they face. Life skills, have relevance to 21st century life skills. Therefore, by analyzing the life skills of the main characters automatically the researcher and reader can find out that the fairy tale figures in East Java which have a good life culture to be used as an example and motivation. To uncover 21st century life skills in the main characters of the East Javanese fable, the study of literary anthropology is used. This research is descriptive qualitative. The data source is the text of a fairy tale in East Java. The technique used is documentary study. The 21st century life skills found in the East Java fable are as follows. First, critical thinking and problem solving. All the main characters in fairy tales have critical thinking so they can solve problems. Second, the creativity and innovation found are types of development and synthesis. Development innovation that was found was the existence of a rice plow from stone to wood and pulled by cows and could be used as a means of entertainment. The tool is named Karapan Sapi. Synthesis of innovation is to combine everything that is owned to be something new. As in the fable of Reog Ponorogo, which combines the head of the Singabarong character with a peacock so it is called Reog Ponorogo. Third, collaboration between members and leaders with subordinates. Fourth, communication in the form of discussion, direction, complaints, and orders.Keyword: 21st century life skills, The main character, Fairy tale


Author(s):  
Надежда Степановна Коровина

Глубокая и прочная связь коми и русской сказочных традиций отмечалась неоднократно, вместе с тем конкретных разысканий по данной проблеме недостаточно. По этой причине в статье предпринята попытка исследовать особенности взаимодействия сказок соседних народов, принадлежащих к разным языковым семьям, но имеющих близкие культурные традиции. Материалом стал сказочный сюжет СУС 502 «Медный лоб». Проанализировав пять вариантов коми сказки, можно заметить, что в них реализованы все значимые эпизоды этого сюжетного типа. Однако наблюдения над коми региональным материалом меняют представление о стабильности законов народной сказки. При современном процессе затухания сказочной фольклорной традиции произошли изменения в наиболее устойчивой ее составляющей - сюжетно-композиционном строении. Широкое варьирование коми сказочниками сюжетов, образов, их трансформация привели к «новеллизации» некоторой части коми сказок, превращению их в авантюрно-фантастические устные повести. Традиционные сюжеты переосмыслялись прежде всего путем контаминации, а также путем сближения фольклорных сказок с русскими книжными произведениями. Приведенные примеры закономерных изменений отнюдь не говорят о полном разрушении его глубинной традиционной основы. Исследование показало, что коми сказочники имели представление о традиционной сказочной обрядности, широко ими пользовались, что во многом способствовало сохранению волшебной сказки как жанра. The strong connection between the Komi and Russian fairy tale traditions has been noted repeatedly, yet research on this issue is clearly insufficient. In this article the author attempts to define the interaction of fairy tales of these neighboring peoples which belong to different linguistic families but which have closely related cultural traditions. Its specific focus is fairy tale SUS number 502 “Copper Forehead.” It examines five Komi variants of the fairy tale that contain all of the significant elements of this plot type. Examination of the Komi material challenges the idea that the laws governing folktales are stable. With the fading of folkloric traditions, there have been changes in fairy tales’ most stable components, their plot and compositional structure. Komi storytellers have introduced changes that transform Komi fairy tales in the direction of “novelization,” turning them to some extent into oral tales of adventure and fantasy. Traditional stories are reinterpreted primarily due to contamination, including bringing folklore tales closer to those from Russian books. At the same time, these normal changes by no means indicate the complete destruction of Komi folklore’s deep traditional basis. The study also demonstrates that Komi storytellers have had a clear notion of traditional fairy-tale patterns and made wide use of them, which has largely contributed to the preservation of the fairy tale as a genre.


2021 ◽  
Vol 5 (1) ◽  
pp. 181-193
Author(s):  
Jeana Jorgensen

Abstract Transgender identities in fairy tale retellings are rare, but can reveal much about gender fluidity. Helen Oyeyemi’s novel Boy, Snow, Bird conflates transgender identities with mirrored falsehoods and fairy-tale spells, pathologizing a trauma victim who turns out to also become an abuser, while Gabriel Vidrine’s novella “A Pair of Raven Wings” depicts a queer transgender man with dignity, making it clear that the trauma he suffers is at the hands of bigots rather than being an invention of a sick mind or the cause of his transition. Pairing these fairy-tale retellings illuminates the topic of gender fluidity in fairy tales by demonstrating that gender is indeed fluid, but that representations of gender fluidity due to trauma are misguided at best and harmful at worst, while those representations that assert the dignity of transgender people, even as they face trauma at the hands of bigoted people, are another stellar example of the genre’s potential to represent people who are culturally marginalized, connecting identity to power in a classic magical fairy-tale move.


2021 ◽  
Vol 5 (1) ◽  
pp. 90-100
Author(s):  
Akmal Akhmatovich Jumayev ◽  

Background. The article focuses on specific similarities of the peoples of the world in their views on the crow. Also in myths, in German and Uzbek fairy tales, the portrayal of the crow in positive and negative images was analysed comparatively. All folk tales lead to good. The same lesson is also reflected in the article on the educational significance of the two folk tales. Methods. Particular attention is paid to the fact that the peoples of the world have certain similarities in their views on the crow. The image of the Crow also moved to fairy tales based on Legends. Results. In the fairy tale, it is not explained why the hero became a crow. It is known that in fairy tales the evolution of children to different birds (often owl or crow) is described either because of some side work of their father, or because of his own senselessness. Discussions. In German fairy tales Interesting is that in “Die sieben Raben“ “The seven ravens”, “Die Rabe“ ‘The raven” fairy tales, a crow is not just an ordinary bird, but a symbol of children. In Uzbek fairy tales, the image of birds is focused on fostering such positive personal qualities as industriousness, honesty and friendliness.


2020 ◽  
pp. 100-104
Author(s):  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk ◽  
Volodymyr Yatchenko, Oksana Oliinyk Volodymyr Yatchenko, Oksana Oliinyk

The article analyzes the existential problems of life, death and immortality in Ukrainian folklore (based on Ukrainian fairy tales). In the corpus of Ukrainian folk tales there are widely used topics, which in European philosophy and literature are called "tragic foundations of human existence" - awareness of the inevitability of death in the earthly existence of man, the search for forms of individual immortality. In Ukrainian fairy tales there is a dual attitude of the individual to the inevitability of his own death. On the one hand, there is the motive of reconciliation with the fate of human destiny, and in order to relieve the painful feeling of one's own finitude, the instruction on the higher meaning of the existence of death is forced. Death is justified because it appears as the prevention of the absurdity of infinite human existence or as an obstacle to the debauchery of the whims and dangerous wishes of the individual, or ultimately as the punishment of people for violating the commandments of the Supreme Spiritual Creature. In other words, death appears in a number of fairy tales as the expression of the highest world justice. At the same time, death mostly appears in fairy tales as an objectified pagan idea of Death as a concrete living creature with its whims, sympathies and weaknesses. The problem of finding ways to achieve immortality is traced in Ukrainian fairy tales in two ways. Most often, this search unfolds in the plane of the victory of the hero of the fairy tale over death, or through the imprisonment of death, or through the marriage of the hero to a divine being. This is a very common motive in the tales around the world. Less common is the motive of achieving immortality through the moral self-improvement of the hero, his compliance to the moral commandments of God. This is already a reflection in fairy tales of the influence of Christianity on the spiritual world of the ancestors of modern Ukrainians.


Ars Aeterna ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 81-90
Author(s):  
Mariana Čechová

Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.


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