In this article, I will describe to you the 8 main Archetypes used in modern psychology. Of course, there are many more, but these are the main ones. The names of the archetypes may change, but their essence remains the same.

Let me briefly remind you what an archetype is and what its essence is.

* Archetype- the essence, form and method of connection of inherited unconscious prototypes and structures of the psyche, passing from generation to generation.

Archetypes provide the basis for behavior, personality structuring, understanding peace, internal unity and the relationship of culture and mutual understanding. Easier speaking - universal, unconditional, mental and behavioral programs.

If he does not receive the necessary and proper attention, then this is reflected in how you how do you feel your mood, on your emotions in the current moment. Highly often without understanding this, you can receive the thoughts of one or another Deity from the depths of your subconscious that you catch from the collective unconscious our planet for their own thoughts!

So, here they are 8 archetypes. Here they are for men. Women - just imagine a woman standing next to each of the male archetypes, and you will immediately understand what the essence of the female side of each of the archetypes is.

Jester archetype: associated with creativity. Likes to play with reality. Instability of actions, flexibility in behavior, unpredictability in actions and decisions. Likes to attract attention and be in the center.

Archetype Servant: diligence and precision is his motto. Needs instructions and precise directions. Control is needed to ensure that everything is done on time and correctly.

Archetype Peasant: It's all about stability and discipline. Ready to work hard to achieve your goal. A stingy man, step by step, improves his financial situation.

Archetype Warrior: all the time in the struggle with himself and the world around him. Reclaiming its place under the sun. Assertiveness and activity in actions. A warrior is always looking for opportunities to fight and win.

Merchant archetype: constantly looking for profit. To do this, he looks for ways for opportunities and cooperates with his environment, avoiding conflicts. Set to negotiate with people and make as many social connections as possible.

Archetype King: It's all about responsibility and willingness to take it upon yourself. Organizes control over activities and coordinates the work of other people. Aimed at the common good.

Archetype Teacher: everything about knowledge, its search and transfer. He knows how and loves to learn and share knowledge and experience with people, helps students find the right path. He knows how to find an approach to the student in order to convey knowledge to him.

Archetype Monk: seeks knowledge and solitude. He is characterized by spiritual practices, supported by asceticism. He sees and feels the invisible, has a powerful intuition.

In Chinese metaphysics, there are two more Archetypes - there is also the Craftsman and the Nice Guy.

Artisan Archetype: it's all about creative creativity. An artisan likes to learn and immediately put his knowledge into practice, creating something with his own hands. Smart and hardworking.

Archetype Glorious Small: it's about maintaining a good mood in the company. He does not really like to work, but he loves to chat and hang out. It's just a great time with him - he will make you laugh and support you. But don't count too much on it.

If you are familiar with the art of Bazi, you can recognize in each of the archetypes a specific Mental type or Deity. You can even write in the comments what deities you recognized.

Why, while studying Chinese Metaphysics, did I turn my attention to the topic of Archetypes?
Many psychologists I know were very surprised when they found out about my interest.

The bottom line is that the art of Bazi, unlike psychology, can immediately:
—typing dominant archetypes, internal, sleeping Archetypes and missing Archetypes on your map,
-determine which Archetypes are in conflict in your Bazi card (and therefore in life) and give recipes right away, how to relieve stress,
-see, what Archetypes “came” to you for growth and development in the current time to direct them forces and resources,
-understand what archetypes you use as leaders in relationships, work, raising children, communication in society and give recommendations for correcting existing problems in one area or another,
-give recommendations on the overall harmonization of the Archetypes in the map for achieving an inner state of happiness and life satisfaction.

You are interested?

Would you like to know your leading archetypes and their features?
About how to develop them and bring yourself to a high quality new level life?
understand and remove internal stresses or external conflicts in life?
Perhaps you are interested in helping and advising other people to understand and learn how to work with archetypes through the art of Bazi?

Write in the comments below, if there is a lot of interest and willing, I can hold webinars on this topic. I can even invite experts who work in the field of archetypes to tell you about the classic Jungian archetypes and how to use this knowledge to become richer, more successful, happier in relationships and in life in general.

Try to immediately identify your dominant Archetype and 2 additional ones that you most often use in life and work. What do you feel about their pros and cons? Write your observations in the comments.

First, let's look at what an archetype is. Archetypes are certain images, with their inherent hallmarks. For ease of perception, they are often associated with fairly well-known characters of myths or heroes of works of art. One way or another, echoes of various archetypes are heard in us, which can interact with each other and complement each other, and only when one of them clearly prevails over the other, others can notice it with the naked eye. For example, a woman with a pronounced mother archetype will try to show her care in every possible way, it is important for her to realize herself from a maternal point of view, if she has her own child, it’s good, then she will splash out her warmth on them. If there are no children yet, such a woman will show concern for the rest of the people from her environment. For example, in a relationship with a man, she is not particularly demanding, where it is more important for her to give herself. The sensual side of the relationship is not so important for her, as it is necessary to feel her need. A woman with the archetype of a child, on the contrary, seeks support from others, expects guardianship from her husband, it is not easy for her to make decisions herself, she is susceptible and vulnerable. I think the general principle is clear, and now I will briefly describe the archetypes of the Goddesses given in this scenario.

Artemis.

For such a woman, it is important to feel her own freedom, she is kind to own independence, is a prototype of modern women feminists. She is principled and purposeful, can be stubborn. He is not afraid of difficulties, a competitive spirit is developed.

Athena

In actions, he is guided by common sense, realists, does not tolerate sentimentality. Has an analytical mindset, does not tolerate spontaneity, plans his life.

Gesta

Serious, calm, attentive to detail. An introvert, does not like big and noisy companies. Likes comfort and order. Slow, focused on inner experiences.

Hera

Implementation through the husband. Such a woman is especially uncomfortable being alone. She is focused on external manifestations life, striving for well-being and recognition.

Demeter

This is exactly the mother archetype that was mentioned at the beginning. Realizes herself in caring and helping others, takes care of those who, as she believes, need it. Peaceful and devoted.

Persephone

One of the most difficult images, especially for the bearer of the archetype. A woman-girl who finds it difficult to make decisions on her own, it is important to feel a reliable person nearby who would be able to direct. Can be overly trusting and vulnerable.

Aphrodite

An attractive, flirtatious, perky woman, she is light, changeable, able to adapt to circumstances. It is equally easy to find a common language with both men and women.

Triodite

It attracts the secret, the unknown, looking for a hidden meaning in everything. Strongly developed instincts, trusts his intuition. Often addicted to esotericism))

Well, here's the schedule:

Each woman is a carrier, as a rule, of several archetypes, some in a larger, some in lesser degree. This alignment is designed to help assess your strengths, as well as those that are still worth developing.

1. Artemis. Strength of mind, independence, purposefulness
2. Athena. Intelligence, logic, sanity
3. Hestia. Self-sufficiency, integrity, spirituality
4. Hera. Significance of partnerships, inconsistency, jealousy
5. Demeter. Caring, generosity, dedication
6. Persephone. Susceptibility, flexibility, passivity
7. Aphrodite. Femininity, charm, sensuality
8. Triodite. Mysticism, intuitiveness, solitude.

(c) Hekate

Copying of material is possible only with the indication of the author - Hecate and links to the site site

In Greek, archetype is "prototype". The theory of archetypes was developed by the student of the great Z. Freud, Carl Gustav Jung. He reworked psychoanalysis and as a result a whole complex of complex ideas appeared, based on philosophy, psychology, literature, mythology and other fields of knowledge. What is the concept of archetype - in this article.

Archetype - what is it?

It is understood as the universal basic innate structures of the personality, which determine the needs of a person, his feelings, thoughts and behavior. An archetype is a collective, inherited from ancestors through folklore. Each person, in accordance with his archetype, chooses a partner for himself, a business he likes, brings up children, etc. Having an idea about this innate personality structure, a psychotherapist can help a person get rid of complexes and even change the scenario of his life.

Archetypes of Jung

There is a direct connection between archetypes, acting as elements of psychostructures, and mythological images, which are products of primitive consciousness. First, the author made an analogy, then an identity, and then expressed the idea that one gives rise to another. belong to the whole human race and are inherited. The prototypes are concentrated in the deep unconscious, which goes beyond the boundaries of the personality.

Their emotional richness and distinctness determine the talents of a person, his creative potential. In his works, Jung resorts to the analysis of the myths of the peoples of the world. Later, he uses the archetype to designate universal human fundamental (mythological) motives that underlie any kind of structure. Special place in his theoretical system he averted "mask", "anime", "shadow", "self". Many were identified by the author with the heroes of literary works. "Shadow" is Goethe's Mephistopheles in Faust, "The Wise Old Man" is Nietzsche's Zarathustra.

archetype sage

He is also called a thinker, for whom the spiritual is more important than the material. The sage is calm and collected, concentrated. Asceticism and simplicity are important to him. Personality archetypes also have a certain color scheme, so for a sage, these are achromatic, colorless shades. Outwardly, philosophers may appear cold and unsociable people, but it's not. They just prefer the search for truth to useless conversations and entertainment events. They are always experimenting, learning something new, creating with their own wise advice help everyone.

Anima archetype

This is one of the archetypes of gender - the female component of the psyche of a man. This archetype of Jung expresses the feelings, mood and impulses of a man, his emotions. All female psychological tendencies are concentrated in it - a rapidly changing mood, prophetic inspirations, the ability to fall in love once and for all life. Jung spoke of anime as being ready to jump. A few years ago, men who were anima-possessed were called animatose. These are irritable, impulsive and easily excitable representatives of the stronger sex, whose psyche reacts to a stimulus inappropriately to its strength.

Archetype Animus

The second archetype of gender is the male component of the woman's psyche. This archetype, according to Jung, produces an opinion, while the anima produces a mood. Often, the solid beliefs of women are not specifically substantiated by anything, but if she has already decided something ... The positive animus is responsible for the insight of a woman, her adherence to all kinds of creeds. And the negative can push her to a reckless act. This archetype lies in the masculinity underlying the woman. And the more feminine the representative of the weaker sex looks, the stronger the animus in her.

The latter can take on the functions of the collective conscience. The opinions of the animus are always collective and take precedence over individual judgments. Such a kind of "judicial board" of the archetype is the personification of the animus. He is also a reformer, under whose influence a woman weaves unfamiliar words into her speech, uses the expressions “well known”, “everyone does it”, drawing knowledge from books, overheard conversations, etc. Her intellectual reasoning can easily turn into absurdity.

Self archetype

Jung considered him the main archetype - the archetype of the integrity of the personality, centeredness. It unites the conscious and the unconscious, normalizing the balance of opposite elements of the psyche. Discovering the archetypes of a person and exploring other personality structures, Jung discovered this prototype of the self, considering it to be comprehensive. It is a symbol of dynamic balance and harmony of opposites. The self may appear in dreams as a minor image. In most people it is not developed and they do not know anything about it.

Shadow archetype

Jung calls it the "anti-self". These are those that a person does not recognize in himself and does not want to see. According to Jung, the shadow archetype is the dark, evil, animal side of the personality that the wearer suppresses. This applies to passions and thoughts unacceptable by society, aggressive actions. This archetype has an example like this: if, according to the dominant function, a person is sensual, prone to strong emotions, then his shadow will be a mental type, which at the most unexpected moment can manifest itself as a devil from a snuffbox.

The shadow grows as you grow older and to realize it, a person begins to understand everything about himself at the end of his life. You can deal with the shadow through individual confession, and in this respect the Catholics are very lucky, in whose confession there is such a phenomenon. Each person must understand and understand that at any moment he is ready for bad behavior and aspirations.

Person archetype

talking plain language, is a mask that a person puts on to play a certain role. Types of archetypes single out a person as a certain part of the psyche, turned outward and serving the tasks of adaptation. The mask is characterized by collectivity, so it is an element of the collective psyche. The persona acts as a kind of compromise between the individual and society. Putting on a mask makes it easier for a person to interact with others. Those who do not have a developed persona are called reckless sociopaths. But the opposite situation is also undesirable, since it destroys the individuality of a person.

archetype god

A follower of the Jungian teachings is Jin Shinoda Bolen, who studied the female and male archetypes in mythology. She attributed the following gods to male archetypal images:

1. Zeus- strong-willed and domineering, .
2. Hades- quiet and mysterious, aloof.
3. Apollo- mature and rational, with common sense.
4. Hephaestus- hardworking and strong.
5. Dionysus- addictive and non-conflict.

The types of archetypes according to Jung among the God-women are as follows:

1. Artemis– strong and risky. She does not tolerate restrictions.
2. Athena- wise and strong-willed, able to discard emotions and analyze only facts.
3. Aphrodite- sensual and tender.
4. Tufe- contradictory, striving to embrace the immensity, but at the same time unable to foresee the consequences of their actions.
5. Hecate- the great mystifier. Those predisposed to this type often engage in occult practices.

Each person combines two or three or more archetypes. They compete with each other, prevail one over the other, controlling their bearer, determining the area of ​​his interests, direction of activity, adherence to certain ideals. These Gods are possible behaviors, but much will depend on upbringing, the ability of a person to adapt, meet and meet the expectations of others.

Jung is the mother archetype

It is the evil of all things and the beginning of all things. Psychology especially singles out this archetype, because in any psychotherapeutic process this figure necessarily pops up. At the same time, it can manifest itself as matter, and then its carrier will have problems in handling things. If the archetype affects the family and social connections, then any violations of this aspect will be manifested in the difficulties of adaptation, communication. well and last third the phenomenon of the uterus determines the ability of the carrier to conceive, bear and give birth, or the ability to complete the work begun.

Child archetype

This archetype in psychology is called the Divine. And all because it contains all the power of the spirit, all the power of nature and the collective unconscious. On the one hand, anyone can destroy a defenseless child, but on the other hand, he is characterized by amazing vitality. The consciousness of the bearer may be torn apart by various opposing tendencies, but the flashing archetype of the child unites them.

Jung's archetype of the witch

This is the most instinctive prototype, symbolizing the need for knowledge and knowledge. Such a woman may be interested in the secrets of life, religion and esotericism. She surrounds herself with amulets, wears amulets and often tattoos. The carriers of this archetype are characterized by a highly developed intuition. Examples of Jungian archetypes include Mary Poppins. This prototype is also demonstrated in the film "Muse". This is what the witch's light side is called. The dark side manifests itself in the ability to intrigue and seduce, to cunning, to lead, to arouse desire.

Jung's Jester Archetype

This is a creative thinking archetype, professing non-standard look on things. The theory of archetypes includes many prototypes, but only this one teaches you to take life lightly, without thinking about what others will think. The jester is like a ray of light in absurdity modern world and faceless everyday bureaucratic routine. He brings chaos to the orderly world and makes the dream come true. It is characterized by impulsiveness and spontaneity, playfulness, which a person could afford only in childhood.

The jester archetype helps people get away with it, get out of the most difficult situations. They are open and friendly, and are able to turn even the most routine and boring work into creative process, bring a touch of enthusiasm and fun. A vivid example is Semyon Semenovich in the film "The Diamond Arm". Charlie Chaplin and the funny girl Tosya from the movie "Girls" are also prominent representatives of the jester.

Unlike Erickson, Carl Gustav Jung was not a student or follower of Freud, although Freud's theories did have some influence on him. Jung and Freud first met as colleagues, and during their lengthy correspondence, Jung always retained his individuality and independence of views on neurotic conflict and the human psyche. Freud disapproved of Jung's position, and a crack appeared in the relationship between the two scientists. Perhaps this was a loss for Freud, but certainly not for psychology - Jung, not limited by the framework of Freud's theory, developed his own doctrine of human psyche, as original, unique and interesting as the teaching of the Master himself.

collective unconscious

The key difference between Jung's theory and Freud's was his belief that a certain spiritual element was inherent in the human psyche. He did not speak of any particular deity or higher spiritual power, but believed that all of humanity is connected at a metaphysical level and that this metaphysical connection is a psychological force that explains the universal need for religion, spirituality, belief in existence. higher power. Freud, a convinced atheist, rejected the existence of any non-biological motives for human behavior, considering Jung's statement to be anti-scientific. Jung called the metaphysical connection between the universal "collective unconscious" a certain reality of the world of the unconscious, inherent in all people.

archetypes

The collective unconscious differs from Freud's model of the unconscious (which Jung called the "individual unconscious") in that it does not involve personal memory or personal emotions. It consists of associations and images common to all mankind - archetypes. Archetypes are “elementary ideas”, “primary images” are significant unconscious figures common to all people. For example, every person has a mother. The image of the mother is represented in some cultures as earth goddess, strong, nourishing. In others - as "Madonna". Thirdly, it is “Mother Nature”, fourthly, it is the embodiment of love and sexual desire or a symbol of fertility. She is called by a thousand different names, represented in thousands different images, but behind all these representations there is one general idea – mother archetype.

Although Freud did not agree with the unscientific theses of Jung's theory, there is nothing supernatural in the basic idea underlying the archetypes and the collective unconscious. Jung simply argued that all people, regardless of personal experience, share some common associations associated with common problems for all people. Everyone has a father and mother, everyone faces some kind of personal conflicts, everyone goes through an identity crisis, adapting to society as they grow up. Archetypes, expressed in legends, myths, literature, art, cinema, reflect these common problems. The collective unconscious assumes only a certain ability, "predisposition" to sharing and understanding these archetypes on an unconscious level. In films, archetypes are characters or themes that express more than just the story of one specific person or events. Archetypes are a reflection of psychological ideas and images that are understandable and close to everyone. The specific embodiments of the archetypes may change, but the symbols behind them have remained the same for several thousand years now - and will never change.

Hero

Mythological hero - main symbol personality. The hero is not just one of the archetypes, it is the central archetype. This concept is too broad to be reduced to any one concept, because if the other archetypes reflect different parts of the Ego, then the hero is the Ego. The hero unites all other archetypes. Joseph Campbell was right when he called the hero "thousand-faced" because the hero is the archetypal representation of the ego, and it is constantly evolving and changing. The message the hero leaves for his followers will depend on the journey he takes. The hero's journey will be discussed in chapters 10 and 11. Now we will talk about the various elements of the ego that the hero can embody, - ego archetypes, with which he is faced.

A person

The outer side of ourselves, which we show to the world, that part of us that others see, is usually called a persona. Drawing an analogy with the masks of ancient Greek actors, we can say that a person is mask which we put on in front of others. It is designed to hide from strangers that part of our "I" that we do not want to show to anyone. On a physical level, actors are personas. Their faces embody the stories and personalities of the characters they play.

Film and television stars complain if they often have to act similar roles. Sometimes the actor's persona - the image he creates on the screen - is so closely connected with the personality of the actor himself that neither the producers nor the audience are ready to see him in new roles. Agree, it is very difficult to imagine Arnold Schwarzenegger as a sensitive and vulnerable person - just like Dustin Hoffman to imagine as some kind of macho in an action movie. Schwarzenegger became so strongly associated with the Terminator that it was difficult for many to accept him as governor of California in 2003. Then he even got the nickname Governor-Terminator.

Although the actors are weary of stereotypical roles, this is actually a testament to their skill. The actor plays his role so authentically that the viewer begins to identify him with the character. In the language of archetypes, one can say that an actor who has become a "typical" actor simply effectively fulfills his role of a person. His performance is so good that the mask separating the actor and his hero becomes transparent, and the audience can no longer separate one from the other.

"Stardom"

Many "character" performers - Louis Calhern, Donald Crisp, George Sanders and dozens of others - are now more or less forgotten. These actors were no less talented than, for example, John Wayne, Gary Cooper or Cary Grant. The difference between them lies in the fact that if the "character" actor has talent and his own niche, then the star has something much more important - his very physical presence makes him in the minds of the audience the hero he plays. Even the word "star" has the properties of an archetype, expressing something omnipresent, infinite, cosmic. Do not underestimate the power of the star's influence on the audience, for them the star is not just part of the film, this is the film.

Alfred Hitchcock liked to invite the most famous stars of the movie screen to the main roles, whose personas were well known to the viewer. In this case, he did not have to reveal the character of the hero in the first part of the film. He just shot in the lead role, for example, James Stewart, and then, even before the film began, the viewer understood that main character- a decent person, independent, but a little conservative, with a bright personality, but respecting traditions, energetic and able to sympathize.

Think carefully appearance characters in your film. As in life, the first impression is always the strongest. Therefore, you must have a good idea of ​​both the faces and figures of the characters you create. It makes sense to sort through the memory of famous actors in order to understand which of them could be the perfect embodiment of your hero. Even if you're making a low-budget film and don't have the opportunity to cast any of the star actors, if your ideal actor has died or is no longer being filmed, keep their image in mind while working on the film and try to convey it to your audience.

Shadow

On Jung's theory strong influence had Eastern philosophy, in which traditionally great attention is given to the problem of natural balance created by opposing forces. One of Jung's main postulates is polarity of the psyche, her dualism. This model implies that any part of the ego is complemented by its opposite. Yin and yang, feminine and masculine, dark and light - each psychological strength there is an opposite. Just as our body casts a shadow in the daylight, so our Ego has a shadow in its consciousness. The shadow is the repressed alter ego, a faint reflection of our unconscious. it dark side our psyche, always present in it, but often not noticed by us. The shadow hides behind the person's mask.

Shadow as villain

From the point of view of opposite archetypes, the villain is always a shadow, while the hero is a person. The classic heroes in the film are usually accompanied by classic villains. Shane (Alan Ladd) in the film of the same name is the embodiment of the White Knight - the hero, and Wilson (Jack Palance) - the Black Knight - the villain. The masked villains (Jason in Friday the 13th, Hannibal Lecter in The Silence of the Lambs, Michael in Halloween) reflect Jung's idea of ​​the shadow archetype almost literally. The maniac behind the mask personifies the universal fear of the propensity for insanity and violence inherent in human nature.

Dualism as a struggle of opposites

The concept of dualism suggests that the task of the hero/person is to collision and integration. In a dream or myth, the person must experience the shadow encounter and integrate it into himself in order to resolve the conflict. It is often interesting to analyze the image of the hero and villain in terms of Jung's theory of persona and shadow. It seems that the hero and the villain cannot have anything in common, that they differ from each other, like day and night, but at the same time there is a strange connection between them, they seem to complement each other. An example is the characters in the film Cape Fear (1962). Sam Bowden (Gregory Peck) is an honest, decent, kind, calm, well-mannered person. Max Cady (Robert Mitchum) is a deceitful, cruel, evil psychopath. But goodies like Sam have to integrate the passion and energy of their shadows in order to defeat them.

meek hero

One of the most common themes in westerns and other "violent" films is the transformation of a mild-mannered hero into an aggressive one. The villain commits more and more atrocities, until finally the hero has to awaken rage in himself in order to protect his honor, family or himself. The integration by the person of the traditionally inherent shadow of aggressiveness usually occurs at the denouement of the film, during the decisive battle between the hero and the villain. Perhaps most vividly and ambiguously this topic is revealed by Sam Peckinpah in " straw dogs”: a gang of hooligans does not leave the humble professor and his wife alone until the professor has to fight back - otherwise he would simply cease to respect himself. At the end of Cape Fear, Sam, protecting his family, becomes just as aggressive, vindictive, and violent as Max. And in stalking films, a weak girl-victim can defeat a maniac only with the help of violence.

To reveal the theme of the struggle of opposites, the hero must meet the villain in person and defeat him. If the villain is defeated by others - the police or just a third character, then the hero has not been able to integrate his shadow and resolve his internal psychological conflict.

Shadow as alter ego

A villain in a movie can symbolize the dark side of a positive character. For example, in Dr. Jekyll and Mr. Hyde, the villain and the hero are the same person, which shows an unconscious split into persona and shadow. Jekyll got the role of a socially respected person, while Hyde personifies the shadow. In Spider-Man, Norman Osborn (Willem Dafoe) is a respected scientist and caring father. But his shadow, "the second "I"" is the Green Goblin, a monstrous monster. The image of opposite sides of the personality in the form of two independent characters is one of the ways to clearly demonstrate pathological split personality hero. And any mental pathology always causes fear in the audience.

In Psycho, Norman Bates (Anthony Perkins) appears both as himself (persona) and as his evil mother (shadow). Dracula pretends to be a person (persona), although a vampire (shadow) is hiding under the mask. Serial killers (Jack the Ripper) in everyday life are no different from the people around them, but in fact they are dangerous psychopaths. Dualism is an effective technique in creating such characters. Making a person soft, sympathetic, noble (say, a doctor, a count, a modest hotel employee), you will demonstrate a sharp contrast with a bloodthirsty and cruel shadow, which will shock the viewer even more. The juxtaposition of the contrasting sides of the personality strikes the viewer, increases tension and conflict, causing fear in the viewer.

Dark heroes

Sometimes the shadow is an element of the hero's personality. Heroes led by dark forces come into conflict. The interweaving of positive and negative qualities makes the characters more inconsistent and deep. Defenders of the weak, such as Batman, Paul Kersey (Charles Bronson) in Death Wish, Harry (Clint Eastwood) in the Dirty Harry films, Popeye Doyle (Gene Hackman) in the French Connection (French Connection, 1971) are complex ambiguous heroes, in the character of which there is a place for both good and evil. They fight crime and, it would seem, should be on a par with the "good" guys. But their methods (violence) and motivation (revenge) are shadows of personas.

Outlaw Heroes(Robin Hood, Zorro, Jesse James) are also a combination of persona and shadow. Such characters are usually liked by the audience, as they personify the psychological complexity and internal conflict, human. None of us can be called either good or bad. Every person is the result of a compromise between persona and shadow. A realistic hero is one who tries to balance the two sides of his nature. And his search reflects the universal desire for psychological balance. It doesn't matter what kind of movie you're working on, the main thing is to always remember what your characters are striving for. internal balance. Defeating the villain, overcoming obstacles, reaching his goal, finding love, the hero must meet with that part self, which is the cause of the conflict, and integrate with it.

dark past

The character's shadow may be connected to his mysterious, tragic or shameful past. In "Chinatown" (Chinatown, 1974), Jake (Jack Nicholson) is haunted by memories of his police service in the city's crime district; in Lady from Shanghai (1947), Elsa (Rita Hayworth) can't forget mysterious story that happened to her in Shanghai. In neither film, the viewer will ever find out what happened in the past of the characters. All we have are a few vague hints, sad looks and tearful eyes. But the reluctance to talk about the past only enhances the tragedy of their images.

The main trick here is innuendo. The screenwriter does not talk about the events of the past, giving free rein to the viewer's imagination. And since we can only guess what really happened, then the tragedy and horror that the heroes had to endure are limited only by the scope of our own imagination. In addition, understatement adds mystery to the character. Mystery may even become its highlight.

If your character has a dark past, he will have to face this past sooner or later (otherwise, why mention it at all?). While we don't know exactly what exactly happened to Jake in Chinatown, the film's denouement takes place here. Full of drama and extremely ambiguous climax scene plunges Jake into a state of shock. But his partner reminds him where they are: "It's just Chinatown, Jake," he explains. Although the details of Jake's past remain behind the scenes, the viewer nevertheless understands that he did not end up in Chinatown by chance, and at the end of the film, the shadow brings him here again. In The Lady from Shanghai, by contrast, the heroine failed to integrate her shadow. In the film, nothing is known about the Shanghai story that happened to Elsa, moreover, she is generally mentioned only in the first part. Although in the third part the action is briefly transferred to the Chinese theater, the denouement takes place in a hall of laughter full of mirrors. The absence of even the slightest hint that the main character has managed to integrate his shadow leaves the viewer with a feeling of incompleteness and loss - not least because the main symbol of the film remains an unresolved and insoluble mystery for him.

Escape from the shadow

Sometimes a hero flees from his dark past. And still, in order to find integrity, he must sooner or later meet the shadow face to face. Shane is trying to escape his gangster past, which in the film personifies Wilson - a psychopath and a murderer, dressed, as expected, in black. AT " star wars Luke's shadow is his father, the dark lord of the Evil Empire. The image of Darth Vader is an impressive and frightening embodiment of the shadow. Luke will have to go through three different paths to face his shadow, overcome and integrate it. The Star Wars trilogy is a particularly good example of the shadow archetype, as it takes the idea that the shadow is not an external villain but a separate part of the person himself to its logical conclusion. The most difficult period for Luke is when he does not accept his true identity, denying any relationship with Darth Vader. To move on, Luke must understand your identity. The same goes for your hero. main task there should be a deeper understanding and integration of all aspects of one's "I".

Eternal shadow

In the movie "Unforgiven" (Unforgiven, 1992), Will's shadow is his gangster past. Will (Clint Eastwood) tries to escape his past and start over with a clean slate, but becomes a hitman and faces his shadow again. In this film, the shadow problem is particularly interesting and ambiguous. In the denouement, Will is confronted by the brutal Sheriff Little Bill (Gene Hackman), who has killed his friend. Bill and Will are like each other, like a reflection in a mirror: they are both killers, deserving of death for more than one committed crime, both of them have not atoned for their life full of violence. Even their names are diminutive versions of the same name. In the film's violent denouement, Will kills Bill in cold blood after confronting his own shadow. The plot of the film clearly demonstrates that, no matter how far we run, our shadow always remains with us.

Shadow rendering

Since the film is a visual means of communication, it is advisable to use a real character as a symbol of the hero's shadow. The conflict with the external figure can be revealed through action, which can be shown more clearly on the screen than the internal conflict. However, whether it is an external or internal conflict, it is a mistake to consider this or that form of confrontation more advanced. The symbols and archetypes in the Shane or Star Wars films are extremely powerful and interesting, and their visualization makes the film even more memorable. The role of visualization cannot be underestimated. A picture will affect the viewer much more than a thousand words.

Goddess

Like Freud, Jung believed that internalized images of parents are preserved in the minds of children. But unlike Freud, he said that these images reveal themselves in dreams and myths through archetypes. parent archetype carries whole line relevant cultural associations. The image of the mother in the myth is presented as a mother goddess - it can be the goddess of the earth, fertility, mother nature, Madonna, etc. This archetype is a general, collective image of a mother, caring, protecting, prolific, gentle and kind. blue fairy in Pinocchio (Pinocchio, 1940), Glinda (Billy Burke) in The Wizard of Oz (The Wizard of Oz, 1939), the fairy godmothers in Cinderella (Cinderella, 1950) and Sleeping Beauty (Sleeping Beauty, 1959) are all prime examples of the goddess archetype, the mother goddess caring for children. In modern films, this archetype has been embodied in the image of Galadriel (Cate Blanchett) from the Fellowship of the Ring (2001). The mother goddess in the film has the same meaning for the hero as real mother for a child in childhood. Meeting with the goddess, the hero masters the emotional strength, wisdom and sensitivity inherent in the positive image of the mother.

goddess shadow

Jung's theory of opposites requires that the image of the goddess be balanced negative mother archetype- evil sorceress scary witch. If the goddess is an idealized image of a mother, then the witch is a disgusting mother, the embodiment of the worst that can be associated with this image. Often a witch is evil stepmother, a sorceress, an archetype from mythology ... Medea. The combined archetype of evil stepmother and cunning witch became firmly entrenched in the American collective unconscious through the Disney films Snow White (1937) and Sleeping Beauty (1958).

In other genres, the witch archetype is also present quite often - for example, in the image of an evil mother in such films as Mommy Dearest (1981), Flowers in the Attic (Flowers in the Attic, 1987). In East of Eden (1955), Cal (James Dean), who barely remembers his mother (Jo Van Fleet) who disappeared years ago, vaguely remembers her as a woman in black. His mother, who left him as a child and opened a brothel in the red light district, embodies the archetype of the shadow of the goddess. Repressed conflicts and painful childhood memories of hurt, shame, cruelty, or indifference are presented in the film through the goddess shadow archetype.

goddess in real life

Anyone can become the embodiment of the goddess archetype female image, any female character that helps the hero gain wisdom, giving him tenderness, care, support and love (but not romantic love). In life, the figure of the mother is neither an idealized goddess nor the center of evil. So in the cinema, the image of a mother can combine the features of a goddess and a witch. The difference between an idealized mother goddess, a shadow goddess, and a mother from real world perfectly visible in the film to "East of Paradise". Cal's mother a common person. She loves her son, but once in her childhood she left him. She cannot become the mother he dreams of. But it is she who gives him the money that he needs so much to realize his ambitious plans. In the life of the mother goddess, they support the hero, help him, even heal him. They are far from always perfect, but this does not mean that they have gone over to the side of evil.

Wise old man

The image of the father is usually expressed through the archetype of the wise old man. Other variants of the paternal archetype - a prophet, a magician, a healer - any elderly man from whom you can expect wisdom and advice. In the movies, the wise old man becomes mentor hero (for the heroine, this role is often played by the goddess). Almost any middle-aged sage can be a mentor in the cinema: a father, an older brother, a teacher, a preacher, a doctor, a coach, a captain, a president, a king, a magician, etc. According to Jung's theory, a mentor must also have an opposite - false mentor or negative father figure. Darth Vader in Star Wars is the embodiment of the image of the father's shadow (Darth Vader literally translates as "dark father"). Obi-Wan, on the contrary, is a real mentor, a positive image. In The Wizard of Oz, the terrifying image of the wizard represents the shadow of the father, and the good-natured old man (Frank Morgan) behind this image is his positive opposite. The hero needs to integrate the image of the father-mentor. Often it is the relationship with this character that becomes central in the film.

Anima

A balanced ego has both masculine and feminine traits. The masculine principle contains the embodiment of the feminine principle in the form of the female archetype - the anima. Anima embodies such traditionally feminine traits as sensitivity, emotionality, intuition, the ability to empathize with others, caring. Anima is not an archetype of a goddess, but is usually a romantic or erotic image. The Mother Goddess is a sacred figure and therefore asexual. The goddess is the source of maternal love, the anima is the source of romantic and sensual love. In traditional heroic stories the anima usually appears as a "damsel in distress" that the hero must find and rescue. In Star Wars, it's Princess Leia that Luke has to save. Saving the girl for the hero means discovering the feminine in himself, integrating an important part of his own "I".

In cinema, anima is usually associated with object of love. The theme of love is very important to the film, even if it has a supporting function. Love is an integral part of every person's life, so the audience always intuitively feels that it is necessary for the film. Leaving the cinema, the viewer should feel that the hero, whose adventures he has just followed, has developed and achieved something. The conquest of the beloved and the integration of the anima into the script are necessary for the completion of the character's image. He not only defeated the shadow, but also found love. The integration of the anima for the hero means the acquisition of integrity. In addition, the girl is also a reward. And so, his life took place. He and his bride can get married and live happily ever after.

Femme fatale

Every positive archetype has its opposite, its shadow. anima shadow in films it is embodied in the image of a femme fatale. The dark seductress offers sensual love, the anima offers pure love. The femme fatale is usually a danger to the hero. Like the sirens in Homer's Odyssey, she seeks to lure the hero and lead him astray. And then take a life by surprise. The false anima, the femme fatale, is either vamp trying to make the hero forget about his real and pure love, or the literal embodiment of fate, fate, threatening the very life of the hero. Alex in Fatal Attraction (1987) and Katherine (Sharon Stone) in Basic Instinct (1992) serve as archetypes of the femme fatale. In Fatal Attraction, Alex's obsession with Dan (Michael Douglas) threatens his marriage to Beth (Anne Archer) and even his life. The shadow of the anima is a very powerful archetype because it allows you to combine two of the most powerful primitive impulses - sexual desire and aggression - in one character. The power of a femme fatale is in her sex appeal. Her danger is associated with the weakness of the hero, unable to resist his attraction to her. It is easier for a hero to deal with monsters or entire armies than with a femme fatale.

animus

The male archetype in female soul- animus. This archetype represents typically masculine traits such as courage, leadership, intelligence, physical strength. Obviously, the dualism of anima and animus is a product of traditional Western mythology, in which a man endowed with the listed qualities is a hero, and a woman is a maiden whom the hero has to save. In traditional Western mythology, women are heroines in exceptional cases. However, the mythology of cinema is a product of modern society, which has liberated and liberated women, so that in films, especially later ones, heroines began to appear much more often. In the new myths, the animus performs the same function that the anima performs in classical stories with a male hero - the function of an object of love. And if both the hero and the heroine are present in the film, as, for example, in Romancing the Stone, they play the role of anima and animus for each other. Jack, Joan Wilder's animus, helps her become brave, strong, and willing to take risks. And Joan, Jack's anima, in turn, teaches him love, tenderness, fidelity.

Since the hero archetype is traditionally male, if the only female character in a film is a woman, then she is usually endowed with the traits inherent in a male hero (like the heroine of Angelina Jolie in the film of the same name "Lara Croft: Tomb Raider"). Accordingly, the man with whom the heroine is in love takes on the functions inherent in anime, and the heroine saves him. So, Lara Croft goes back in time to save her beloved Alex (Daniel Craig). In addition, a man is endowed with such traits as sensitivity and tenderness instead of strength or courage. In such films, the heroines are strong and courageous, and their lovers are "men in trouble."

animus shadow

Monsters, serial killers, psychopaths are all embodiments of the animus shadow in bloody thrillers like Halloween, Friday the 13th or A Nightmare on Elm Street. The ominous images of Freddy Krueger (Robert Englund) or Red (Robert Downey Jr.) in In Dreams (2003) are especially closely associated with Jung's theory - they appear to their victims in nightmares. In such stories, the heroines are assigned traditional role"Girls in Distress" But at the end of the film, the heroine stops running away from the shadow, collides with it - and gains integrity. In the denouement, in the final battle with the shadow, the heroine integrates the aggression and power of the shadow, destroying it in a characteristically frightening way.

Dodger

Many ancient mythological deities were mischievous swindlers who liked to play tricks on mortals, to confuse and deceive them. In The Greatest Story Ever Told (1965), Satan (Donald Pleasence) also tries to confuse Jesus with earthly pleasures to test his faith in God. If mischievous deities or deceiving gods offer the hero wisdom, it is only in the form of a riddle, and the hero has to prove that he is worthy of receiving advice or guidance from the deity by guessing it. In "Excalibur" (Excalibur, 1981), the immortal guardian of the Holy Grail gives it to Percival (Paul Jeffery) only as a reward for answering his tricky question.

Archetype rogue hero usually appears in comedies. Charlie Chaplin, Buster Keaton and Harold Lloyd played the roles of such "pranksters". They fought their rivals with all sorts of tricks, deceit, practical jokes. Although such heroes may have some traditional traits, such as physical strength, courage, determination, their most important advantage is intelligence, sharpness, and ingenuity. In the western farce Blazing Saddles (1974) by Mel Brooks the main role assigned to two rogue heroes. Although Bart (Cleavon Little) and Baby Wako (Gene Wilder) are strong enough, they prefer to defeat their enemies with a variety of fun tricks.

The rogue may not be the main character, but a minor character meant to be vented with laughter. The main success of the films of the Marx brothers or Abbott and Costello was provided not by the movie hero (who fought the villain, won the girl’s heart and generally rescued everyone from trouble), but comic characters, rogues who helped the hero on his way, deceiving and confusing his enemies. It doesn't matter if the rogue is the main character or the supporting character in your scenario, remember that his main feature- mind. Most often, heroes, especially in action films, achieve victory thanks to strength, courage, and outstanding physical abilities. But the rogue hero's success is ensured by his intelligence - although this archetypal trait is often forgotten.

Werewolf

Jung believed that the image of the werewolf symbolizes the Ego in its constant change and development. The protagonists of films are always some sort of werewolves. The characters should develop throughout the film, and significant changes are expected. The slick metropolitan journalist (Jean Arthur) in Mr. Deeds Goes to Town (1936) begins to feel the taste of life again, falling in love with the simple-minded Deeds (Gary Cooper). In An Officer and a Gentleman (1982), a selfish, female-loving cadet of an aviation school (Richard Gere) turns into a caring and gentle admirer of one of the local girls (Debra Winger). Full of enthusiasm young stockbroker Bud (Charlie Sheen) in "Wall Street" (Wall Street, 1987), dishonest financial businessman (Michael Douglas) turns into a greedy villain, capable of any meanness. In the third part of the film, Bud is again radically changed and reborn as a whole and worthy person.

Werewolf rogue

Many mythological gods were not only rogues, but also werewolves. In fact, these two archetypes have a lot in common. Zeus, for example, could take the form of an eagle, fly from Olympus to earth and, in the form of a mortal, seduce girls. Similarly, in the cinema, the changing of masks is the archetypal form of the picaresque genre. Bugs Bunny often dresses up as a woman in an attempt to elude Elmer Fudd. In Star Wars, Luke and Khan don Imperial stormtrooper uniforms to get on the Death Star. In "Shining Saddles", Bud and Baby Waco pretend to be members of the Ku Klux Klan in order to infiltrate the gang. Dressing up as a picaresque trick is as old as the myth itself, but it continues to be effective technique screenwriter. Although archetypal images and plots are not new and stereotypical, they can be very convincing and entertaining if they are presented wisely and in an unusual form.

physical transformation

Vampires and wolfmen are fearsome and terrifying archetypal figures, as they manifest the supernatural power of the gods. In mythology, only gods could take on the form of animals or otherwise change their physical appearance. Count Dracula is the image of a werewolf, which is probably used more often than others in movies. The shape-shifting robot villain (Robert Patrick) in Terminator 2 (1991) offers modern interpretation ancient archetype. Whether it's the physical transformation into another being or the personality transformation of a character, the werewolf archetype is always present in movies in one way or another. But it is especially interesting to the viewer when it symbolizes the human ability to change and be reborn to a new life.

The collective unconscious consists of images and associations common to all people, called archetypes.

Archetypes reflect the predisposition of people to equally understand such universal psychological issues as feelings towards parents, the desire for love, the need for spiritual healing and rebirth.

The image of the hero in myths, legends, literature and cinema is primarily the archetype of the Ego.

The persona is the "mask" that we put on in front of others.

Actors are the material embodiment of persons - these are the bodies and faces of the characters they play.

An actor becomes typical when the audience has strong associations between him and the hero he portrays.

The protagonist of any story embodies the archetype of the person. The hero must face other parts of his ego (represented by other archetypes) and integrate them.

The shadow archetype is the dark side of our personality that we hide from everyone.

In films, the archetype of the shadow is usually represented by the villain.

The goddess archetype represents the positive mother archetype.

The evil stepmother or witch is the archetypal embodiment of the shadow of the goddess, all negative qualities, which can only be associated with the image of the mother.

The archetype of the wise old man personifies the image of the father. The wise old man usually fills the role of the hero's mentor in films.

Darth Vader in "Star Wars" is a vivid example of the archetype of the "false" mentor, the negative image of the father.

The anima archetype represents positive features characteristic of women.

In cinema, the anima is usually portrayed as a damsel in distress or the hero's lover.

The femme fatale is the archetype of the shadow of the anima. This is a vicious temptress, trying to seduce the hero and make him forget about his calling and his love, to lure him into a dangerous trap.

The animus archetype represents the positive traits characteristic of men.

Freddy Krueger in A Nightmare on Elm Street embodies the shadow of the animus - the dark, perverted, cruel, destructive side of male nature.

A sense of humor and ingenuity help the rogue hero achieve his goal. More often rogues are secondary characters.

The werewolf archetype symbolizes the ego, which by its nature is constantly changing and developing. The ability to shapeshift into other beings may also reflect spiritual or divine power.

Exercises for chapter 8

1. Make a list of characters from your ten favorite movies.

2. Make a list of villains from your ten favorite movies.

3. Make a list of mentors from your ten favorite films.

4. Analyze the films you know and name five characters that serve as the goddess archetype.

5. Name five characters who serve as the shadow goddess archetype.

6. Name five characters that serve as an anima archetype.

7. Name five characters that serve as the femme fatale archetype.

8. Name five characters who serve as the rogue archetype.

9. Name five characters who serve as the werewolf archetype.

Archetypes in your story

1. The viewer needs to see that your character is developing, so it is necessary that the character has some kind of flaw, some kind of weakness. What element of the ego the hero must develop in order to achieve psychological integrity according to Jung's theory.

2. The appearance of the hero largely determines his person. Try to imagine your character, then remember all the movie stars you know and choose the one who would be most suitable for this role. Imagine this actor as you work on your script.

3. The dualism of persona and shadow in cinema usually reflects the confrontation between hero and villain. The greatest drama can be achieved by making the images of the hero and the villain as opposite as possible - and, accordingly, complementing each other. If your script has a hero and a villain, think about how to structure your characters so that the hero needs some quality of the villain to defeat the villain.

4. Very often the hero has a dark past - a skeleton in the closet, which he needs to face. Is there a dark history in your hero's past? If not, think about what dark pages of his biography can make your character's image more interesting. If there is something dubious in his past, did he manage to cope with it?

5. The archetypes of the goddess and the wise old man are expressed in the images of a mentor for both the hero and the heroine. Does your script have a mentor who helps the hero gain wisdom? If not, think about how you can add this archetypal element to your script to further develop your character.

6. The archetypes of the anima and animus appear in the images of the beloved hero or heroine. Is there a meeting and integration of the hero with the object of love in your script? If not, consider how these archetypal elements can add romance and sensuality to your film.

7. The rogue and werewolf archetypes can embody such qualities of a hero as intelligence and resourcefulness. In some films, they arrange obstacles that the hero manages to overcome only thanks to his quick wits. In others, the hero himself resorts to picaresque tricks to deceive his enemies. How can you use these archetypes to showcase your character's mind?

Freud's works, despite their debatable nature, aroused the desire of a group of leading scientists time to work with him in Vienna. Some of these scientists moved away from psychoanalysis over time to seek new approaches to understanding the human being. Carl Gustav Jung was the most prominent among the defectors from Freud's camp.

Like Freud, K. Jung devoted himself to the teaching of dynamic unconscious drives on human behavior and experience. However, unlike the first, Jung argued that the content of the unconscious is something more than repressed sexual and aggressive urges. According to Jung's theory of personality, known as analytical psychology, individuals are motivated by intrapsychic forces by images whose origin goes back into the history of evolution. This innate unconscious contains deeply rooted spiritual material that explains the inherent desire for creative self-expression and physical perfection inherent in all mankind.

Another source of disagreement between Freud and Jung is the attitude towards sexuality as the dominant force in the structure of personality. Freud treated the libido mainly as sexual energy, while Jung saw it as a diffuse creative life force that manifests itself in a variety of ways - as, for example, in religion or the desire for power. That is, in Jung's understanding, the energy of the libido is concentrated in various needs - biological or spiritual - as they arise.

Jung claimed that soul(in Jung's theory, a term analogous to personality) consists of three separate but interacting structures: the ego, the personal unconscious, and the collective unconscious.

Ego

Ego is the center of the sphere of consciousness. It is a component of the psyche, which includes all those thoughts, feelings, memories and sensations, thanks to which we feel our integrity, constancy and perceive ourselves as people. This is the basis of our self-consciousness, and thanks to it we are able to see the results of our ordinary conscious activities.

Personal unconscious

Personal unconscious contains conflicts and memories that were once conscious but are now repressed or forgotten. It also includes those sensory impressions that lack brightness in order to be noted in consciousness. Thus, Jung's concept of the personal unconscious is somewhat similar to Freud's. However, Jung went further than Freud, emphasizing that the personal unconscious contains complexes, or the accumulation of emotionally charged thoughts, feelings and memories carried by the individual from his past personal experience or from ancestral, hereditary experience. According to Jung, these complexes arranged around the most regular topics, can have a strong enough influence on the behavior of the individual. For example, a person with a power complex can expend a significant amount of mental energy on activities that are directly or symbolically related to the theme of power. The same may be true of a person who is under the strong influence of his mother, father, or under the power of money, sex, or some other kind of complexes. Once formed, the complex begins to influence the behavior of a person and his attitude. Jung argued that the material of the personal unconscious in each of us is unique and, as a rule, accessible to awareness. As a result, the components of the complex, or even the entire complex, can become conscious and have an excessively strong influence on the life of the individual.

collective unconscious

And, finally, Jung suggested the existence of a deeper layer in the structure of personality, which he called collective unconscious. The collective unconscious is a repository of latent memory traces of humanity and even our own. anthropoid ancestors. It reflects the thoughts and feelings that are common to all human beings and are the result of our common emotional past. As Jung himself said, “the collective unconscious contains the entire spiritual heritage of human evolution, reborn in the structure of the brain of each individual.” Thus, the content of the collective unconscious is formed due to heredity and is the same for all mankind. It is important to note that the concept of the collective unconscious was the main reason for the divergence between Jung and Freud.

archetypes

Jung hypothesized that the collective unconscious is made up of powerful primal mental images, so-called archetypes(literally, "primary models"). Archetypes are innate ideas or memories that predispose people to perceive, experience, and respond to events in a particular way. In fact, these are not memories or images as such, but rather predisposing factors under the influence of which people implement in their behavior universal models of perception, thinking and action in response to some object or event. What is innate here is precisely the tendency to respond emotionally, cognitively and behaviorally to specific situations- for example, in an unexpected encounter with parents, a loved one, a stranger, a snake or death.

Among the many archetypes described by Jung are the mother, the child, the hero, the sage, the sun deity, the rogue, God, and death.

Examples of archetypes described by Jung

	Definition
	The unconscious feminine side of a man's personality	Woman, Virgin Mary, Mona Lisa
	The unconscious masculine side of a woman's personality	Man, Jesus Christ, Don Juan
	The social role of the individual stemming from societal expectations and early learning
	The unconscious opposite of what the individual insists on consciously	Satan, Hitler, Hussein
	The embodiment of integrity and harmony, the regulating center of personality
	Personification life wisdom and maturity
	The ultimate realization of psychic reality projected onto the outside world	solar eye

Jung believed that each archetype is associated with a tendency to express a certain type of feeling and thought in relation to the corresponding object or situation. For example, in a child's perception of his mother, there are aspects of her actual characteristics, colored by unconscious ideas about such archetypal maternal attributes as upbringing, fertility, and dependence.

Further, Jung suggested that archetypal images and ideas are often reflected in dreams, and also often found in culture in the form of symbols used in painting, literature, religion. In particular, he emphasized that the symbols characteristic of different cultures, often reveal a striking similarity, because they go back to archetypes common to all mankind. For example, in many cultures he met images mandalas, which are symbolic embodiments of the unity and integrity of the “I”. Jung believed that understanding the archetypal symbols helped him in the analysis of a patient's dreams.

The number of archetypes in the collective unconscious can be unlimited. However, special attention in Jung's theoretical system is given to the person, anime and animus, shadow and self.

A person

A person(from the Latin word “persona”, meaning “mask”) is our public face, that is, how we manifest ourselves in relationships with other people. The persona refers to the many roles that we play in accordance with social requirements. In Jung's understanding, a persona serves the purpose of impressing others, or hiding one's true identity from others. The persona as an archetype is necessary for us to get along with other people in everyday life. However, Jung warned that if this archetype acquires great importance, then a person may become shallow, superficial, reduced to only one role and alienated from true emotional experience.

Shadow

In contrast to the role played in our adaptation to the world around us, the persona, the archetype shadow represents the repressed dark, evil and animal side of the personality. The shadow contains our socially unacceptable sexual and aggressive impulses, immoral thoughts and passions. But the shadow has positive sides. Jung saw the shadow as a source life force, spontaneity and creativity in the life of the individual. According to Jung, the function of this is to direct the energy of the shadow in the right direction, to curb pernicious side our nature to such an extent that we can live in harmony with others, but at the same time openly express our impulses and enjoy a healthy and creative life.

Anima and Animus

The anima and animus archetypes express Jung's recognition of the innate androgynous nature of humans. Anima represents internal image women in man, his unconscious feminine side; while animus- the inner image of a man in a woman, her unconscious male side. These archetypes are based, at least in part, on the biological fact that both men and women produce both male and female hormones. This archetype, according to Jung, evolved over many centuries in the collective unconscious as a result of experience of interaction with the opposite sex. Many men have, to some extent, "feminized" as a result of years of life together with women, and for women the opposite is true. Jung insisted that the anima and animus, like all other archetypes, must be expressed harmoniously, without disturbing the overall balance, so that the development of the personality in the direction of self-realization is not hampered. In other words, a man must express his feminine qualities along with his masculine ones, and a woman must show her masculine qualities as well as her feminine ones. If these necessary attributes remain undeveloped, the result will be one-sided growth and functioning of the personality.

Self

Self is the most important archetype in Jung's theory. The self is the core of the personality around which all other elements are organized.

When the integration of all aspects of the soul is achieved, a person feels unity, harmony and integrity. Thus, in Jung's understanding, the development of the self is the main objective human life. The main symbol of the archetype of the self is the mandala and its many varieties (abstract circle, saint's halo, rose window). According to Jung, the integrity and unity of the "I", symbolically expressed in the completeness of figures, such as a mandala, can be found in dreams, fantasies, myths, in religious and mystical experience. Jung believed that religion is a great force that contributes to the human desire for wholeness and completeness. At the same time, the harmonization of all parts of the soul is a complex process. The true balance of personality structures, as he believed, is impossible to achieve, at least, this can be achieved no earlier than middle age. Moreover, the archetype of the Self is not realized until there is an integration and harmony of all aspects of the soul, conscious and unconscious. Therefore, the achievement of a mature "I" requires constancy, perseverance, intelligence and a lot of life experience.

Introverts and extroverts

Jung's most famous contribution to psychology is considered to be the two main directions he described, or life attitudes: extraversion and introversion.

According to Jung's theory, both orientations coexist in a person at the same time, but one of them becomes dominant. In an extraverted attitude, an orientation of interest in outside world other people and things. An extrovert is mobile, talkative, quickly establishes relationships and attachments, external factors are for him driving force. An introvert, on the contrary, is immersed in the inner world of his thoughts, feelings and experiences. He is contemplative, reserved, seeks solitude, tends to move away from objects, his interest is focused on himself. According to Jung, the extraverted and introverted attitudes do not exist in isolation. Usually they are both present and are in opposition to each other: if one appears as a leader, the other acts as an auxiliary. The combination of leading and auxiliary ego-orientation results in individuals whose behavior patterns are defined and predictable.

Shortly after Jung formulated the concept of extraversion and introversion, he came to the conclusion that these opposite orientations cannot fully explain all the differences in people's attitudes to the world. So he expanded his typology to include psychological functions. Four main functions highlighted by them are thinking, feeling, feeling and intuition.

Thinking and Feeling

Thinking and feeling Jung referred to the category of rational functions, since they allow the formation of judgments about life experience. The thinking type judges the value of certain things using logic and arguments. The opposite function of thinking - feeling - informs us about reality in the language of positive or negative emotions. The feeling type focuses on the emotional side of life experience and judges the value of things in terms of “good or bad”, “pleasant or unpleasant”, “encourages something or calls for boredom”. According to Jung, when thinking acts as a leading function, a person is focused on building rational judgments, the purpose of which is to determine whether the evaluated experience is true or false. And when the leading function is feeling, the personality is oriented towards making judgments about whether the experience is primarily pleasant or unpleasant.

Feeling and intuition

The second pair of opposite functions - sensation and intuition - Jung called irrational, because they simply passively "grasp", register events in the external or internal world, without evaluating them otherwise explaining their meaning. Sensation is a direct, nonjudgmental realistic perception of the world. The sensing type is particularly perceptive to taste, smell, and other sensations from environmental stimuli. On the contrary, intuition is characterized by subliminal and unconscious perception of current experience. The intuitive type relies on premonitions and guesses, grasping the essence of life events. Jung argued that when the leading function is sensation, a person comprehends reality in the language of phenomena, as if he were photographing it. On the other hand, when intuition is the leading function, a person reacts to unconscious images, symbols, and the hidden meaning of what is being experienced.

Each person is endowed with all four psychological functions. However, as soon as one personal orientation is usually dominant, just like that, only one function from a rational or irrational pair usually dominates and is realized. Other functions are immersed in the unconscious and play an auxiliary role in the regulation of human behavior. Any function can be leading. Accordingly, one observes thinking, feeling, sensing and intuitive type s individuals. According to Jung's theory, an integrated personality uses all opposite functions to co-ownership with life situations.

The two ego orientations and the four psychological functions interact to form the eight various types personality. For example, the extraverted thinking type focuses on objective having practical value facts about the world. He usually gives the impression of a cold and dogmatic person who lives according to established rules.

It is quite possible that the prototype of the extraverted thinking type was Z. Freud. The introverted intuitive type, on the other hand, focuses on the reality of their own inner world. This type is usually eccentric, keeps aloof from others. AT this case Jung probably had himself in mind as a prototype.

Unlike Freud, who paid special attention to the early years of life as a decisive stage in the formation of personality behavior patterns, Jung considered personality development as a dynamic process, as evolution throughout life. He said almost nothing about socialization in childhood and did not share Freud's views that only past events (especially psychosexual conflicts) are decisive for human behavior.

From Jung's point of view, a person constantly acquires new skills, achieves new goals, realizes himself more and more fully. He attached great importance to such a life goal of the individual as “acquisition of selfhood”, which is the result of the desire of all components of the personality for unity. This theme of striving for integration, harmony and wholeness was later repeated in existential and humanistic theories of personality.

According to Jung, ultimate life goal - this is the complete realization of the "I", that is, the formation of a single, unique and holistic individual. The development of each person in this direction is unique, it continues throughout life and includes a process called individuation. Simply put, individuation is a dynamic and evolving process of integrating many opposing intrapersonal forces and tendencies. In his final expression individuation involves the conscious realization by a person of his unique psychic reality, the full development and expression of all elements of personality. The archetype of the self becomes the center of the personality and balances the many opposite qualities that make up the personality as a single main whole. Due to this, the energy necessary for the ongoing personal growth. The result of the realization of individuation, which is very difficult to achieve, Jung called self-realization. He believed that this final stage of personality development is available only to capable and highly educated people who have sufficient leisure for this. Because of these limitations, self-realization is not available to the vast majority of people.