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By Matthew A. Fike

Utilizing the analytical psychology of Carl Jung, Matthew A. Fike offers a clean figuring out of individuation in Shakespeare. This examine of “the visionary mode”— Jung’s time period for literature that comes throughout the artist from the collective unconscious—combines a robust grounding in Jungian terminology and conception with fantasy feedback, biblical literary feedback, and postcolonial idea. Fike attracts widely at the wealthy discussions within the amassed Works of C. G. Jung to light up chosen performs resembling A Midsummer Night’s Dream, The service provider of Venice, The Henriad, Othello, and Hamlet in new and outstanding methods. Fike’s transparent and thorough method of Shakespeare bargains fascinating, unique scholarship that would attract scholars and students alike.

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Because of the repetition of human experience from time immemorial, patterns called archetypes become engrained in this collective unconscious. In his two essays, Jung describes them as forms, preexistent forms, universal forms, universal thought forms, mythical images, primordial images, motifs, collective representations, instinctual patterns, and possibilities of ideas. 1057/9780230618558 - A Jungian Study of Shakespeare, Matthew A. com - licensed to Chung Hua University - PalgraveConnect - 2011-03-04 T HE C OLLECTIVE U NCONSCIOUS A J UNGIAN S TUDY OF S HAKESPEARE collective unconscious; unlike the neuroses of the personal unconscious, the archetypes are “non-ego” (CW 7, 113/73).

Much as Hermia’s dream of the phallic snake compensates for a denial of sexuality in her waking life or as Bottom’s “dream” of Titania compensates for elements of his life as a laborer, Shakespeare’s use of myth in The Merchant of Venice may in some way qualify or critique characters’ conscious situations. ”2 It is in and through myth that the unconscious speaks in literature because “all mythical figures correspond to inner psychic experiences and originally sprang from them” (CW 9i, 457/256).

23 It may be, however, that Theseus’s poet connects not just with the intrapsychic world of the primary and secondary imagination—Jung’s psychological mode—but also with a realm that transcends the individual psyche altogether. The critical consensus that Theseus is speaking of the realm of Platonic Forms24 admits two critical controversies. First, does the poet genuinely apprehend something transcendent? 25 Second, is reason active in the poet’s grasp of the transcendent? 1057/9780230618558 - A Jungian Study of Shakespeare, Matthew A.

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