An archetype ( /ˈɑrkɪtaɪp/) is a universally understood symbol, term,^[1] or pattern of behavior, a prototype upon which others are copied, patterned, or emulated. Archetypes are often used in myths and storytelling across different cultures.

In psychology, an archetype is a model of a person, personality, or behavior.

In philosophy, archetypes have, since Plato, referred to ideal forms of the perceived or sensible objects or types.

In the analysis of personality, the term archetype is often broadly used to refer to:

1. A stereotype— a personality type observed multiple times, especially an oversimplification of such a type.
2. An epitome— a personality type exemplified, especially the "greatest" such example.
3. A literary term to express details.

Archetype refers to a generic version of a personality. In this sense, "mother figure" may be considered an archetype, and may be identified in various characters with otherwise distinct (non-generic) personalities.

Archetypes are likewise supposed to have been present in folklore and literature for thousands of years, including prehistoric artwork. The use of archetypes to illuminate personality and literature was advanced by Carl Jung early in the 20th century, who suggested the existence of universal contentless forms that channel experiences and emotions, resulting in recognizable and typical patterns of behavior with certain probable outcomes. Archetypes are cited as important to both ancient mythology and modern narratives.

Etymology[link]

First attested in English in 1540s,^[2] the word archetype derives from the Latin noun archetypum, the latinisation of the Greek noun ἀρχέτυπον (archetupon) and adjective ἀρχέτυπος (archetupos), meaning "first-moulded",^[3] which is a compound of ἀρχή (archē,) "beginning, origin"^[4] + τύπος (tupos), amongst others "pattern, model, type".^[5]

Pronunciation note: The "ch" in archetype is a transliteration of the Greek chi (χ) and is most commonly articulated in English as a "k".^[6]

Origins[link]

The origins of the archetypal hypothesis date back as far as Plato. Jung himself compared archetypes to Platonic ideas. Plato's ideas were pure mental forms that were imprinted in the soul before it was born into the world. They were collective in the sense that they embodied the fundamental characteristics of a thing rather than its specific peculiarities.

The Platonist Jewish philosopher Philo of Alexandria used the term to describe the Imago Dei, and the Gallic Christian theologian Irenaeus of Lyons used the term to describe the act of Creation.^[7]

Jungian archetypes[link]

The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919. In Jung's psychological framework, archetypes are innate, universal prototypes for ideas and may be used to interpret observations. A group of memories and interpretations associated with an archetype is a complex ( e.g. a mother complex associated with the mother archetype). Jung treated the archetypes as psychological organs, analogous to physical ones in that both are morphological constructs that arose through evolution.^[8]

Jung outlined five main archetypes:

• The Self, the regulating center of the psyche and facilitator of individuation,
• The Shadow, the opposite of the ego image, often containing qualities with which the ego does not identify, but which it possesses nonetheless,
• The Anima, the feminine image in a man's psyche, or
• The Animus, the masculine image in a woman's psyche,
• The Persona, the image we present to the world, usually protecting the Ego from negative images (like a mask), and considered another of 'the subpersonalities, the complexes'.^[9]

Although archetypes can take on innumerable forms, there are a few particularly notable, recurring archetypal images^{[citation needed]}:

Jung also outlined what he called archetypes of transformation, which are situations, places, ways, and means that symbolize the transformation in question. These archetypes exist primarily as energy and are useful in organizational development, personal and organizational change management, and extensively used in place branding.

In pedagogy (teaching)[link]

Clifford Mayes (born July 15, 1953), professor in the Brigham Young University McKay School of Education, has developed what he has termed archetypal pedagogy. Mayes' work also aims at promoting what he calls archetypal reflectivity in teachers; this is a means of encouraging teachers to examine and work with psychodynamic issues, images, and assumptions, as those factors affect their pedagogical practices. Archetypal reflectivity, which draws not only upon Jungian psychology but transpersonal psychology, generally offers an avenue for teachers to probe the spiritual dimensions of teaching and learning in non-dogmatic terms.

In the USA, Mayes' two most recent works, Inside Education: Depth Psychology in Teaching and Learning (2007) and The Archetypal Hero's Journey in Teaching and Learning: A Study in Jungian Pedagogy (2008), incorporate the psychoanalytic theories of Heinz Kohut (particularly Kohut's notion of the selfobject) and the object relations theory of Ronald Fairbairn and D.W. Winnicott. Some of Mayes' work in curriculum theory, especially Seven Curricular Landscapes: An Approach to the Holistic Curriculum (2003) and Understanding the Whole Student: Holistic Multicultural Education (2007), is concerned with holistic education.

In literature and art[link]

Archetypes can be found in nearly all forms of literature, with their motifs being predominantly rooted in folklore.

William Butler Yeats completed an automatic writing with his wife (Georgie) Hyde-Lees. Their book, A Vision, contains an interesting mapping and list of 28 archetypes by these characters' will and fate. Tarot cards depict a system of archetypes used for divination of a persons' fate or story.^{[citation needed]} In the Noh plays of Japan, the characters are skillfully depicted with exaggerated expressions and elaborate costumes to clearly portray a system of archetypes.

William Shakespeare is responsible for popularizing several archetypal characters. Falstaff, the bawdy rotund comic knight; Romeo and Juliet, the ill-fated ("star-crossed") lovers; Richard II, the hero who dies with honour; and many others. Although Shakespeare based many of his characters on existing archetypes from fables and myths (e.g., Romeo and Juliet on Arthur Brooke's Romeus and Juliet), Shakespeare's characters stand out as original by their contrast against a complex social literary landscape. For instance, in The Tempest, Shakespeare borrowed from a manuscript by William Strachey that detailed an actual shipwreck of the Virginia-bound 17th-century English sailing vessel Sea Venture in 1609 on the islands of Bermuda. Shakespeare also borrowed heavily from a speech by Medea in Ovid's Metamorphoses in writing Prospero's renunciative speech; nevertheless, the combination of these elements in the character of Prospero created a new interpretation of the sage magician as that of a carefully plotting hero, quite distinct from the wizard-as-advisor archetype of Merlin or Gandalf. Both of these are likely derived from priesthood authority archetypes, such as Celtic Druids, or perhaps Biblical figures like Abraham, Moses, etc.; or in the case of Gandalf, the Norse figure Odin.

Certain common methods of character depiction employed in dramatic performance rely on the pre-existence of literary archetypes. Stock characters used in theatre or film are based on highly generic literary archetypes. A pastiche is an imitation of an archetype or prototype in order to pay homage to the original creator.

Sheri Tepper's novel Plague of Angels contains archetypical villages, essentially human zoos where a wide variety of archetypal people are kept, including heroes, orphans, oracles, ingénues, bastards, young lovers, poets, princesses, martyrs, and fools.

Similarly, the song "Atlantis" by the folk singer Donovan mentions twelve archetypal characters leaving the sinking Atlantis and spreading to the far corners of the world to bring civilization, though only five of the twelve are mentioned in the song:

<poem>Knowing her fate, Atlantis sent out ships to all corners of the Earth. On board were the Twelve: The poet, the physician, the farmer, the scientist, the magician, And the other so-called Gods of our legends, Though Gods they were.</poem>

The superhero genre is also frequently cited as emblematic of archetypal literature.

The young, flawed, and brooding antihero Spider-Man became the most widely imitated archetype in the superhero genre since the appearance of Superman and Batman.
—Bradford W. Wright, Comic Book Nation: The transformation of Youth Culture in America 212
—Superman on the Couch by Danny Fingeroth 151

See also[link]

References[link]

Marina and the Diamonds
Marina and the Diamonds performing in Edinburgh on 2 November 2010
Background information
Birth name	Marina Lambrini Diamandis
Born	(1985-10-10) 10 October 1985 (age 26) Abergavenny, Monmouthshire, Wales
Genres	indie pop, pop, New Wave, electropop
Occupations	Singer-songwriter, musician poet,
Instruments	Vocals, keyboard, piano, glockenspiel, casio VL-tone, organ
Years active	2007–present
Labels	Neon Gold, 679, Chop Shop
Website	marinaandthediamonds.com

Marina Lambrini Diamandis^[1] (Greek: Μαρίνα-Λαμπρινή Διαμάντη, pronounced [ðʝaˈmadi];^[2] born 10 October 1985), better known by her stage name Marina and the Diamonds (sometimes stylised as Marina & the Diamonds), is a Welsh singer-songwriter.^[3][4] She rose to fame after reaching number two on the BBC Sound of 2010 poll list, coming second to Ellie Goulding. After releasing one private EP, Diamandis released her second extended play, The Crown Jewels EP, with help from Neon Gold Records, in 2009.^[5] Now signed to 679 Recordings, she released her debut full length studio album, The Family Jewels, followed by her third extended play, The American Jewels EP, in 2010. In 2011, Diamandis announced that she was working on her second album, Electra Heart, which was released in April 2012 and went to #1 in the UK and Ireland.

Her stage name, "Marina and the Diamonds", consists of Diamandis' first name and the translation of her surname which means "Diamonds" in Greek. Although "The Diamonds" is often mistakenly believed to refer to her backing band,^[6] it in fact refers to Diamandis' fans: she explains this on her Myspace page by saying "I'm Marina. You are the diamonds."^[7]

Diamandis' musical style ranges from keyboard-based ballads to more up-tempo New Wave-style songs with full band backing.^[4] She has cited a wide-range of influences such as Daniel Johnston, Blondie, The Distillers, Patti Smith, Tom Waits, Nirvana, PJ Harvey, Kate Bush, Britney Spears, Yann Tiersen, Elliott Smith, Dolly Parton and Madonna.^[8][9]

Background[link]

Diamandis was born in Abergavenny, Monmouthshire, Wales. Her father is Greek and her mother is Welsh,^[10] and brought up in the village of Pandy with her parents and her older sister.^[11] She attended Haberdashers' Monmouth School for Girls, of which she said "I sort of found my talent there... I was the one who always skived off choir, but I had an incredible music teacher who managed to convince me I could do anything."^[12] When her parents separated, Diamandis moved to Greece when she was sixteen years old to live with her father but returned to Wales two years later.^[11]

Diamandis moved to London at the age of eighteen where she attended dance school for only two months.^[6] Following this, in 2005 she took a one year singing course at Tech Music Schools.^{[citation needed]} Diamandis enrolled in a music degree at the University of East London, transferring in her second year of studies to Middlesex University, but later dropped out.^[13] She went for many auditions including the West End musical, The Lion King.^[14] Diamandis admitted that she auditioned for a reggae boy band, held by Virgin Records, in 2005 to try to make it into the music business. She said she was "delusional with drive" and ultimately decided to dress up in male attire to try to amuse the record label to sign her, but she was unsuccessful. However, she was called back by the record label a week later.^[15][16]

Diamandis has a synaesthetic condition that involves seeing musical notes and days of the week in different colours.^[17]

Musical career[link]

2005–2008: Early career[link]

Diamandis live at the NME Radar Tour

In 2005, Diamandis created the name "Marina and the Diamonds".^[18] When describing the origin of the name, she said:

I never envisaged a character, pop project, band or solo artist. I saw a simple group made up of many people who had the same hearts. A space for people with similar ideals who could not fit in to life's pre-made mould. I was terribly awkward for a long time! I really craved to be part of one thing because I never felt too connected to anybody and now I feel I have that all around me.^[18]

Early demos of Marina and the Diamonds' songs were self composed and produced on the Apple software application Garageband.^[14] Through Gumtree she found someone to produce a few tracks, for which she paid £500.^[19] These ended up on her debut extended play Mermaid Vs. Sailor EP which was released on 23 November 2007. The record was created on hand-made CD-Rs by Diamandis and sold through her MySpace page. An estimated seventy copies were sold overall.^[20]

In January 2008, Diamandis was first discovered by music scouter Derek Davies of Neon Gold Records. Davies booked Diamandis to open for Belgian-Australian singer Gotye later that year where Warner Music Group first saw her and ended up signing her in October 2008 to 679 Recordings.^[19]

Marina and the Diamonds performing at The Bell House in Brooklyn, New York.

Diamandis' debut single was a double a-side consisting of "Obsessions" and "Mowgli's Road" which was issued on Neon Gold Records in the United States on 19 November 2008, followed by her second extended play The Crown Jewels EP on 1 June 2009 featuring her second single "I Am Not a Robot".^[21] Her first major label single, a re-recording of "Mowgli's Road", was released on 13 November 2009 under 679 Recordings in the UK and through Atlantic Records in the USA. On 7 December 2009 she was listed on the longlist for the BBC Sound of 2010 poll,^[22] and on 7 January 2010 it was announced that she had taken second place.^[23]

[edit] 2009–2010: The Family Jewels

Marina and the Diamonds' debut album, The Family Jewels, was released in February 2010. It peaked at number five on the UK Albums Chart and was certified silver in the United Kingdom days before its release.^[24] A re-release of "Mowgli's Road" was released as the album's lead single in November 2009.^[25] However, the song "Hollywood" was released as the first major single from the album in February 2010.^[26] A re-release of "I Am Not a Robot" in April 2010 became the album's third single; Diamandis said she decided to re-release the song because "people seem to empathize and relate with the song, regardless of gender or age."^[27] "Oh No!" became the album's fourth single in August 2010,^[28] and "Shampain" became the fifth single in October 2010.^[29] She embarked on her first headlining tour on 14 February 2010, consisting of seventy dates around the United Kingdom, Ireland, mainland Europe, the United States and Canada.^[30]

Also during 2010, Diamandis collaborated with producer Benny Blanco and guitarist Dave Sitek in Los Angeles on new material which she described as "a really great opportunity for me as a songwriter. [We are] such a weird threesome—a combination of super pop and really indie".^[6]

In March 2010, Atlantic Records signed Marina and the Diamonds to Chop Shop Records in the United States.^[31][32] Before the album's American release in May 2010,^[33] Diamandis released her third extended play, The American Jewels EP, digitally and exclusively for the United States in March 2010.^[31][32] Diamandis made her North American debut on 14 March 2010 through a series of performances.^[34]

Marina and the Diamonds was nominated for Critics' Choice at the 2010 BRIT Awards^[35] and came fifth in SHREDnews' "Ten Artists To Watch in 2010" list in March 2010.^[36] She also won the award for Best UK & Ireland Act at the 2010 MTV Europe Music Awards.^[37]

[edit] 2011–present: Electra Heart

In a January 2011 interview, Diamandis announced that her second album would mainly be about female sexuality and feminism.^{[citation needed]} The same month, Diamandis was announced as a support act for the U.S. leg of Katy Perry's California Dreams Tour.^[38] Three early demos were leaked in early 2011, called "Sex, Yeah", "Living Dead" and "Jealousy", each showing a more pop sound.^[39] Diamandis recorded material with producers Cirkut, Guy Sigsworth, Labrinth, Greg Kurstin, Diplo, Dr. Luke, Stargate and Liam Howe.

In August 2011, Diamandis uploaded a video to her YouTube page titled "Part 1: Fear and Loathing". In an interview with Popjustice, she explained the concept of the album, titled Electra Heart after a character of her creation; she said the guise "epitomises and embodies the lies, illusions and death of American ideologies involved in the corruption of self [...] Electra Heart is the antithesis of everything that I stand for. And the point of introducing her and building a whole concept around her is that she stands for the corrupt side of American ideology, and basically that’s the corruption of yourself. My worst fear—that’s anyone’s worst fear—is losing myself and becoming a vacuous person. And that happens a lot when you’re very ambitious."^[40] The campaign's first single, "Radioactive" produced by Stargate, was released in October 2011 (reaching number twenty-five in the UK),^[41] followed by a demo of the song "Starring Role" in November^[42] and a video titled ♡ PART 3: "THE ARCHETYPES" ♡ in December.^[43] A track titled "Homewrecker" was issued as a free download to her mailing list subscribers.^[44]

Electra Heart was released in April 2012,^[45] preceded by the single "Primadonna" produced by Dr Luke, Diplo and Cirkut.^[46][47] "Primadonna" debuted at number eleven on the UK Singles Chart, becoming Diamandis' highest peaking single to date. "Power and Control" has been announced officially as the next single from the album.^[48]

Artistry[link]

Music style and influences[link]

Marina and the Diamonds performing on The Gem Tour in Birmingham, UK.

Marina and the Diamonds has been influenced by a wide-range of musicians from PJ Harvey to Britney Spears.^[8] Diamandis has also noted Daniel Johnston as one of her major influences saying:

He really opened me up to a whole new world of music and a whole new perception of what an artist is. For me, he really encouraged me because if you think of someone who has been spoon-fed pop, up until twenty-one years old, and you hear someone like Daniel Johnston you're like "God, this is terrible, but I love it." It sounds like a child has made it, like, the production is so all over the place. He's obviously got something very captivating here yet he doesn't fit the normal mould and people still love him. I thought "if he can do it then [so can I]," that's when I started to produce things myself and play live, even though I wasn't even great on the piano. It's all about emotion and if you have heart, people connect to that.^[49]

Diamandis calls herself a "DIY musician"^[49] and describes her sound as an alternative to mainstream pop music.^[8] In an interview with ClashMusic Diamandis said that she does not come from a musical background and explained "I probably have a bit of a different sound because I don’t really know what I’m doing".^[50] Lyrically, she says her music analyzes people and that if she wasn't a musician, she would be a psychologist.^[51]

Critics usually catalogue Marina and the Diamonds as a New Wave pop artist. In an interview with The Guardian she said, "I suppose I'm an indie artist with pop goals".^[9] Although Diamandis has asserted that she never tries to sound like any other artist or copy a genre of music, she has been compared to a variety of artists such as Kate Bush^[50] and most commonly Florence and the Machine.^[52] PopMatters commented on her vocal delivery and attitude saying it "has a tendency to overshadow the music, which is often melodically inventive, but we are rarely given the chance to realise this."^[53] The Guardian's Paul Lester wrote that "her songs are hard to fathom. They veer between simple keyboards-based ballads and more upbeat and catchy, quirky new wave-inflected numbers enhanced by percussion, guitar and drums."^[4]

Public image[link]

As well as her music, Marina and the Diamonds is also notable for her unique attire.^[54] When asked in an interview to describe her fashion style in three words, Diamandis said "vintage, cheerleader and cartoon".^[55] You can see an element of this style in the video for 'Oh No!' which was released in June 2010. She has praised model/DJ Leigh Lezark's fashion style and called Gwen Stefani her definitive style icon describing her image as "cartoonized but in a very fresh way".^[55] Diamandis has mentioned that she sometimes makes her own outfits with clothes she buys from charity shops.^[56] She also collects vintage cheer jackets.^[55] She has often been seen wearing clothes by Jean-Charles de Castelbajac,^[57] Laura Mackness,^[58] Beyond Retro,^[59] Motel Rocks,^[60] Jervoise Jackets^[61] amongst others. Diamandis has admitted that she would "like to do something in fashion, not designing, not one of those skanky celebrity lines, but being involved behind the scenes".^[11]

As part of Selfridges' "Sound of Music", Diamandis designed her own window display for the London Oxford Street branch in May 2010.^[62] She also appeared as a "live mannequin" for the display.^[63] Diamandis was featured on Vogue UK's official website throughout November 2010 for a popular sartorial section called "Today I'm Wearing", where she blogged her daily style choices for the fashion website.^[64] In December 2010, Diamandis announced on her Twitter that she would be the new face of the Max Factor make-up range Max Colour Effects.

Discography[link]

• 2010: The Family Jewels
• 2012: Electra Heart

Filmography[link]

• 2013: Homewrecker (Set to be released in Summer 2013)

Touring[link]

Marina and the Diamonds at The Wonder Bar in Asbury Park, NJ

In 2009, Marina and the Diamonds played at BBC Radio 1's Big Weekend in Swindon early in May 2009,^[3] Glastonbury Festival in June 2009,^[65] and the Reading and Leeds Festivals in August 2009.^[66]

In promotion for her album and "Hollywood", Diamandis performed at Brand New: 10 for 10 at London's Dingwalls,^[67] had an eleven minute 4Music special - 4Play: Marina and the Diamonds - on Channel 4,^[68] performed at T4's Outside-In Festival,^[69] New to Q Sessions^[70] in January 2010, was a musical guest on GMTV, Friday Night with Jonathan Ross, The Review Show in February 2010^[71] and Later... with Jools Holland and T4's Frock Me! in April 2010. She performed at the Isle of Wight Festival 2010 and Glastonbury Festival 2010 in June 2010 and is planned to appear at other music festivals across the United Kingdom, mainland Europe and North America.

Diamandis had already sold out the first leg of her first headlining tour, The Family Jewels Tour before the release of her debut album. Her entire tour currently consists of seventy dates across six legs around the United Kingdom, North America, Ireland and mainland Europe.^[30][72][73] Diamandis was accompanied by support acts Clock Opera and Alan Pownall for the first leg of her tour and Spark on The Gem Tour.^[74]

Headlining

• The Family Jewels Tour (2010 - 2011)
• Lonely Hearts Club Tour (2012)

Supporting

• California Dreams Tour (2011)
• Mylo Xyloto Tour (2011 - 2012)

Awards and nominations[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Marina and the Diamonds

• Official website
• Marina and the Diamonds on BBC Wales
• Today I'm Wearing at Vogue UK

Carl Jung
Jung in 1910
Born	Carl Gustav Jung (1875-07-26)26 July 1875 Kesswil, Thurgau, Switzerland
Died	6 June 1961(1961-06-06) (aged 85) Zurich, Zurich, Switzerland
Residence	Switzerland
Citizenship	Swiss
Fields	Psychiatry, psychology, psychotherapy, analytical psychology
Institutions	Burghölzli, Swiss Army (as a commissioned officer in World War I)
Alma mater	University of Basel
Doctoral advisor	Eugen Bleuler, Sigmund Freud
Known for	Analytical psychology
Spouse	Emma Jung
Signature

Carl Gustav Jung (/ˈjʊŋ/ YUUNG; German: [ˈkarl ˈɡʊstaf ˈjʊŋ]; 26 July 1875 – 6 June 1961) was a Swiss psychiatrist, the founder of analytical psychology. Jung is considered the first modern psychiatrist to view the human psyche as "by nature religious" and make it the focus of exploration.^[1] Jung is one of the best known researchers in the field of dream analysis and symbolization. While he was a fully involved and practicing clinician, much of his life's work was spent exploring tangential areas, including Eastern and Western philosophy, alchemy, astrology, and sociology, as well as literature and the arts.

Jung considered individuation, a psychological process of integrating the opposites including the conscious with the unconscious while still maintaining their relative autonomy, necessary for a person to become whole.^[2] Individuation is the central concept of analytical psychology.^[3]

Many psychological concepts were first proposed by Jung, including the archetype, the collective unconscious, the complex, and synchronicity. Popular psychometric instruments like the Myers-Briggs Type Indicator (MBTI), have been principally developed from Jung's theories.

His interest in philosophy and the occult led many to view him as a mystic although Jung's ambition was to be seen as a man of science.^[4]

Biography[link]

Youth[link]

Birth[link]

Carl Jung was born Karl Gustav II Jung^[a] in Kesswil, in the Swiss canton of Thurgau, on 26 July 1875, as the fourth but only surviving child of Paul Achilles Jung and Emilie Preiswerk. Emilie Preiswerk was the youngest child of Samuel Preiswerk, Paul Achilles Jung's professor of Hebrew. His father was a poor rural pastor in the Swiss Reformed Church, while his mother came from a wealthy and established Swiss family.

When Jung was six months old his father was appointed to a more prosperous parish in Laufen. Meanwhile, the tension between his parents was growing. An eccentric and depressed woman, Emilie Jung spent much of the time in her own separate bedroom, enthralled by the spirits that she said visited her at night.^[5] Jung had a better relationship with his father because he thought him to be predictable and thought his mother to be very problematic. Although during the day he also saw her as predictable, at night he felt some frightening influences from her room. At night his mother became strange and mysterious. Jung claimed that one night he saw a faintly luminous and indefinite figure coming from her room, with a head detached from the neck and floating in the air in front of the body.^[5]

His mother left Laufen for several months of hospitalization near Basel for an unknown physical ailment. Young Carl Jung was taken by his father to live with Emilie Jung's unmarried sister in Basel, but was later brought back to the pastor's residence. Emilie's continuing bouts of absence and often depressed mood influenced her son's attitude towards women — one of "innate unreliability," a view that he later called the "handicap I started off with"^[6] and that resulted in his sometimes patriarchal views of women.^[7] After three years of living in Laufen, Paul Jung requested a transfer and was called to Kleinhüningen in 1879. The relocation brought Emilie Jung in closer contact to her family and lifted her melancholy and despondent mood.

Childhood memories[link]

A solitary and introverted child, Jung was convinced from childhood that, like his mother,^[8] he had two personalities — a modern Swiss citizen and a personality more at home in the eighteenth century.^[9] "Personality Number 1," as he termed it, was a typical schoolboy living in the era of the time, while "Personality Number 2" was a dignified, authoritative and influential man from the past. Although Jung was close to both parents he was rather disappointed in his father's academic approach to faith.

A number of childhood memories had made a life-long impression on him. As a boy he carved a tiny mannequin into the end of the wooden ruler from his pencil case and placed it inside the case. He then added a stone which he had painted into upper and lower halves and hid the case in the attic. Periodically he would come back to the mannequin, often bringing tiny sheets of paper with messages inscribed on them in his own secret language.^[10] This ceremonial act, he later reflected, brought him a feeling of inner peace and security. In later years he discovered that similarities existed in this memory and the totems of native peoples like the collection of soul-stones near Arlesheim, or the tjurungas of Australia. This, he concluded, was an unconscious ritual that he did not question or understand at the time, but which was practiced in a strikingly similar way in faraway locations that he as a young boy had no way of consciously knowing about.^[11] His findings on psychological archetypes and the collective unconscious were inspired in part by these experiences.

Shortly before the end of his first year at the Humanistisches Gymnasium in Basel, at the age of twelve, he was pushed to the ground by another boy so hard that he was for a moment unconscious (Jung later recognized that the incident was his fault, indirectly). A thought then came to him that "now you won't have to go to school any more."^[12] From then on, whenever he started off to school or began homework, he fainted. He remained at home for the next six months until he overheard his father speaking worriedly to a visitor of his future ability to support himself, as they suspected he had epilepsy. With little money in the family, this brought the boy to reality and he realized the need for academic excellence. He immediately went into his father's study and began poring over Latin grammar. He fainted three more times, but eventually he overcame the urge and did not faint again. This event, Jung later recalled, "was when I learned what a neurosis is."^[13]

Young adulthood[link]

University years[link]

Jung had no plans to study psychiatry, because it was held in contempt in those days, but as he started studying his psychiatric textbook, he became very excited when he read that psychoses are personality diseases. Immediately he understood this was the field that interested him the most. It combined both biological and spiritual facts and this was what he was searching for.^[14]

In 1895, Jung studied medicine at the University of Basel. In 1900, he began working in the Burghölzli, a psychiatric hospital in Zurich, with Eugen Bleuler. His dissertation, published in 1903, was titled "On the Psychology and Pathology of So-Called Occult Phenomena." In 1906, he published Studies in Word Association and later sent a copy of this book to Sigmund Freud, after which a close friendship between these two men followed for some six years (see section on Relationship with Freud). In 1912 Jung published Wandlungen und Symbole der Libido (known in English as Psychology of the Unconscious) resulting in a theoretical divergence between him and Freud and consequently a break in their friendship, each stating that the other was unable to admit he could possibly be wrong. After this falling-out, Jung went through a pivotal and difficult psychological transformation, which was exacerbated by news of the First World War. Henri Ellenberger called Jung's experience a "creative illness" and compared it to Freud's period of what he called neurasthenia and hysteria.

Army career[link]

During World War I Jung was drafted as an army doctor and soon made commandant of an internment camp for British officers and soldiers. (Swiss neutrality obliged the Swiss to intern personnel from either side of the conflict who crossed their frontier to evade capture.) Jung worked to improve the conditions for these soldiers stranded in neutral territory; he encouraged them to attend university courses.^[15]

Marriage[link]

In 1903, Jung married Emma Rauschenbach, who came from a wealthy family in Switzerland. They had five children: Agathe, Gret, Franz, Marianne, and Helene. The marriage lasted until Emma's death in 1955, but he had more-or-less open relationships with other women. The most well-known women with whom Jung is believed to have had extramarital relationships were patients and friends Sabina Spielrein^[16] and Toni Wolff.^[17]

Freud[link]

Meeting Freud[link]

Jung was thirty when he sent his Studies in Word Association to Sigmund Freud in Vienna in 1906. The two men met for the first time the following year, and Jung recalled the discussion between himself and Freud as interminable. They talked, he remembered, for thirteen hours, virtually without stopping'.^[18] Six months later, the then 50-year-old Freud sent a collection of his latest published essays to Jung in Zurich, which marked the beginning of an intense correspondence and collaboration that lasted six years and ended in May 1913. At this time Jung resigned as the chairman of the International Psychoanalytical Association, where he had been elected with Freud's support.

Jung and Freud influenced each other during the intellectually formative years of Jung's life. As Freud was already fifty years old at their meeting, he was well beyond the formative years. In 1906 psychology as a science was still in its early stages. Jung, who had become interested in psychiatry as a student by reading Psychopathia Sexualis by Richard von Krafft-Ebing, professor in Vienna, now worked as a doctor under the psychiatrist Eugen Bleuler in Burghölzli and became familiar with Freud's idea of the unconscious through Freud's The Interpretation of Dreams (1900) and was a proponent of the new "psycho-analysis." At the time, Freud needed collaborators and pupils to validate and spread his ideas. Burghölzli was a renowned psychiatric clinic in Zurich at which Jung was a young doctor whose research had already given him international recognition.

Yearbook for Psychoanalytical and Psychopathological Research[link]

In 1908, Jung became an editor of the newly founded Yearbook for Psychoanalytical and Psychopathological Research. The following year, Jung traveled with Freud and Sándor Ferenczi to the U.S. to spread the news of psychoanalysis and in 1910, Jung became Chairman for Life of the International Psychoanalytical Association. While Jung worked on his Wandlungen und Symbole der Libido (Psychology of the Unconscious), tensions grew between Freud and Jung, mostly due to their disagreements over the nature of libido and religion^{[clarification needed]}. In 1912 these tensions came to a peak because Jung felt severely slighted after Freud visited his colleague Ludwig Binswanger in Kreuzlingen without paying him a visit in nearby Zurich, an incident Jung referred to as "the Kreuzlingen gesture." Shortly thereafter, Jung again traveled to the United States and gave the Fordham lectures, which were published as The Theory of Psychoanalysis. While they contain some remarks on Jung's dissenting view on the nature of libido, they represent largely a "psychoanalytical Jung" and not the theory Jung became famous for in the following decades.

Group photo 1909 in front of Clark University. Front row: Sigmund Freud, G. Stanley Hall, Jung; back row: Abraham A. Brill, Ernest Jones, Sándor Ferenczi.

Travels to the USA[link]

In 1909 Jung and Freud traveled to the conference at Clark University. The event was planned by psychologist G. Stanley Hall and included twenty-seven distinguished psychiatrists, neurologists and psychologists. It represented a watershed in the acceptance of psychoanalysis in North America. This forged welcome links between Jung and influential Americans.^[19] Jung returned to the United States the next year for a brief visit, and again for a six-week lecture series at Fordham University in 1912.

Last meetings with Freud[link]

In November 1912, Jung and Freud met in Munich for a meeting among prominent colleagues to discuss psychoanalytical journals.^[20] At a talk about a new psychoanalytic essay on Amenhotep IV, Jung expressed his views on how it related to actual conflicts in the psychoanalytic movement. While Jung spoke, Freud suddenly fainted and Jung carried him to a couch.

Jung and Freud personally met for the last time in September 1913 for the Fourth International Psychoanalytical Congress, also in Munich. Jung gave a talk on psychological types, the introverted and the extraverted type, in analytical psychology. This constituted the introduction of some of the key concepts which came to distinguish Jung's work from Freud's in the next half century.

Midlife isolation[link]

London 1913-14[link]

Jung spoke at meetings of the Psycho-Medical Society in London in 1913 and 1914. His travels were soon interrupted by the war, but his ideas continued to receive attention in England primarily through the efforts of Constance Long. She translated and published the first English volume of his collected writings^[21]

Red Book[link]

In 1913 at the age of thirty-eight, Jung experienced a horrible "confrontation with the unconscious". He saw visions and heard voices. He worried at times that he was "menaced by a psychosis" or was "doing a schizophrenia." He decided that it was valuable experience, and in private, he induced hallucinations, or, in his words, "active imaginations." He recorded everything he felt in small journals. Jung began to transcribe his notes into a large, red leather-bound book, on which he worked intermittently for sixteen years.^[7]

Jung left no posthumous instructions about the final disposition of what he called the "Red Book". His family eventually moved it into a bank vault in 1984. Sonu Shamdasani, a historian from London, for three years tried to persuade Jung's heirs to have it published, to which they declined every hint of inquiry. As of mid-September 2009, fewer than two dozen people had seen it. Ulrich Hoerni, Jung's grandson who manages the Jung archives, decided to publish it. To raise the additional funds needed, the Philemon Foundation was founded.^[7]

In 2007, two technicians for DigitalFusion, working with the publisher, W. W. Norton & Company, painstakingly scanned one-tenth of a millimeter at a time with a 10,200-pixel scanner. It was published on October 7, 2009 (ISBN 978-0-393-06567-1) in German with "separate English translation along with Shamdasani's introduction and footnotes" at the back of the book, according to Sara Corbett for The New York Times. She wrote, "The book is bombastic, baroque and like so much else about Carl Jung, a willful oddity, synched with an antediluvian and mystical reality."^[7]

The Rubin Museum of Art in New York City displayed the original Red Book journal, as well as some of Jung's original small journals, from October 7, 2009 to January 25, 2010.^[22] According to them, "During the period in which he worked on this book Jung developed his principal theories of archetypes, collective unconscious, and the process of individuation." Two-thirds of the pages bear Jung's illuminations of the text.^[22]

Isolation[link]

In the following years Jung experienced considerable isolation in his professional life, exacerbated through World War I. His Seven Sermons to the Dead (1917), reprinted in his autobiography Memories, Dreams, Reflections (see bibliography), can also be read as expression of the psychological conflicts which beset Jung around the age of forty after the break with Freud.

London 1920-23[link]

Constance Long arranged for him to give a seminar in Cornwall in 1920. Another seminar was held in 1923, this one organized by Helton Godwin Baynes (known as Peter), and another in 1925.^[23]

USA 1924-25[link]

Jung made a more extensive trip westward in the winter of 1924–5, financed and organized by Fowler McCormick and George Porter. Of particular value to Jung was a visit with Chief Mountain Lake of the Taos Pueblo near Taos, New Mexico.^[23]

East Africa[link]

In October 1925, Jung embarked on his most ambitious expedition, the "Bugishu Psychological Expedition" to East Africa. He was accompanied by Peter Baynes and an American associate, George Beckwith. On the voyage to Africa, they became acquainted with an English woman named Ruth Bailey, who joined their safari a few weeks later. The group traveled through Kenya and Uganda to the slopes of Mount Elgon, where Jung hoped to increase his understanding of "primitive psychology" through conversations with the culturally isolated residents of that area. Later he concluded that the major insights he had gleaned had to do with himself and the European psychology in which he had been raised.^[24]

USA 1936[link]

Jung made another trip to America in 1936, giving lectures in New York and New England for his growing group of American followers. He returned in 1937 to deliver the Terry Lectures, Psychology and Religion, at Yale University.

India[link]

In December 1937, Jung left Zurich again for an extensive tour of India with Fowler McCormick. In India, he felt himself "under the direct influence of a foreign culture" for the first time. In Africa, his conversations had been strictly limited by the language barrier, but in India he was able to converse extensively. Hindu philosophy became an important element in his understanding of the role of symbolism and the life of the unconscious, though he avoided a meeting with Ramana Maharshi. Jung became seriously ill on this trip and endured two weeks of delirium in a Calcutta hospital. After 1938, his travels were confined to Europe.^[25]

Last publications[link]

Jung continued to publish books until the end of his life, including Flying Saucers: A Modern Myth of Things Seen in the Skies (1959), which analyzed the archetypal meaning and possible psychological significance of the reported observations of UFOs.^[26] He also enjoyed a friendship with an English Roman Catholic priest, Father Victor White, who corresponded with Jung after he had published his controversial Answer to Job.^[27]

Death[link]

Jung died on 6 June 1961 at Küsnacht, after a short illness.^[28][29]

Psychology[link]

Jung founded a new school of psychotherapy, called analytical psychology or Jungian psychology.

Theories[link]

His theories include:

• The concept of introversion and extraversion (although he did not define these terms as they are popularly defined today).^[30]
• The concept of the complex.
• The concept of collective unconscious, which is shared by all people. It includes the archetypes.
• Synchronicity as a mode of relationship that is not causal, an idea that has influenced Wolfgang Pauli (with whom he developed the notion of unus mundus in connection with the notion of non-locality) and some other physicists.^[31]
• Personality assessments such as the Myers-Briggs Type Indicator (MBTI) and Socionics were inspired by Jung's psychological types theory.

Divergence from Freud[link]

Jung's primary disagreement with Freud stemmed from their differing concepts of the unconscious.^{[citation needed]} Jung saw Freud's theory of the unconscious as incomplete and unnecessarily negative. According to Jung, Freud conceived the unconscious solely as a repository of repressed emotions and desires. Jung agreed with Freud's model of the unconscious, what Jung called the "personal unconscious", but he also proposed the existence of a second, far deeper form of the unconscious underlying the personal one. This was the collective unconscious, where the archetypes themselves resided, represented in mythology by a lake or other body of water, and in some cases a jug or other container. Freud had actually mentioned a collective level of psychic functioning but saw it primarily as an appendix to the rest of the psyche.

Individuation[link]

Jung considered individuation, a psychological process of integrating the opposites including the conscious with the unconscious while still maintaining their relative autonomy, necessary for a person to become whole.^[32]

Individuation is a process of transformation whereby the personal and collective unconscious is brought into consciousness (by means of dreams, active imagination or free association to take some examples) to be assimilated into the whole personality. It is a completely natural process necessary for the integration of the psyche to take place.^[33] Individuation has a holistic healing effect on the person, both mentally and physically.^[33]

Besides achieving physical and mental health,^[33] people who have advanced towards individuation tend to be harmonious, mature and responsible. They embody humane values such as freedom and justice and have a good understanding about the workings of human nature and the universe.^[34]

Spirituality[link]

Jung's work on himself and his patients convinced him that life has a spiritual purpose beyond material goals. Our main task, he believed, is to discover and fulfill our deep innate potential. Based on his study of Christianity, Hinduism, Buddhism, Gnosticism, Taoism, and other traditions, Jung believed that this journey of transformation, which he called individuation, is at the mystical heart of all religions. It is a journey to meet the self and at the same time to meet the Divine. Unlike Sigmund Freud, Jung thought spiritual experience was essential to our well-being.^[35]

Alchemy[link]

The work and writings of Jung from the 1940s onwards focused on alchemy.

In 1944 Jung published Psychology and Alchemy, where he analyzed the alchemical symbols and showed a direct relationship to the psychoanalytical process.^[b] He argued that the alchemical process was the transformation of the impure soul (lead) to perfected soul (gold), and a metaphor for the individuation process.^[14]

In 1963 Mysterium Coniunctionis was first published in The Collected Works of C. G. Jung. Mysterium Coniunctionis was Jung's last book and focused on the "Mysterium Coniunctionis" archetype, known as the sacred marriage between sun and moon. Jung argued that the stages of the alchemists, the blackening, the whitening, the reddening and the yellowing, could be taken as symbolic of individuation — his favourite term for personal growth (75).

Political views[link]

Jung's political views and actions have been criticised.

Views on state[link]

Jung stressed the importance of individual rights in a person's relation to the state and society. He saw that the state was treated as "a quasi-animate personality from whom everything is expected" but that this personality was "only camouflage for those individuals who know how to manipulate it",^[36] and referred to the state as a form of slavery.^{[37][38][39][40]} He also thought that the state "swallowed up [people's] religious forces",^[41] and therefore that the state had "taken the place of God"—making it comparable to a religion in which "state slavery is a form of worship".^[39] Jung observed that "stage acts of [the] state" are comparable to religious displays: "Brass bands, flags, banners, parades and monster demonstrations are no different in principle from ecclesiastical processions, cannonades and fire to scare off demons".^[42] From Jung's perspective, this replacement of God with the state in a mass society led to the dislocation of the religious drive and resulted in the same fanaticism of the church-states of the Dark Ages—wherein the more the state is 'worshipped', the more freedom and morality are suppressed;^[43] this ultimately leaves the individual psychically undeveloped with extreme feelings of marginalization.^[44]

Leadership in professional organizations in Germany, 1933 to 1939[link]

Jung had many friends and respected colleagues who were Jewish and he maintained relations with them through the 1930s when anti-semitism in Germany and other European nations was on the rise. However, until 1939, he also maintained professional relations with psychotherapists in Germany who had declared their support for the Nazi regime and there were allegations that he himself was a Nazi sympathizer. In his work Civilisation in Transition, Collected Works Volume X, however, Jung wrote of "...the Aryan bird of prey with his insatiable lust to lord it in every land, even those that concern him not at all."^[45]