Female Archetypes

La construcción de la identidad femenina en la pintura de Madeline von Foerster The construction of the female identity in the painting of Madeline von Foerster Resumen El presente artículo aborda la peculiar obra de una mujer actual, que desde una técnica pictórica tradicional, elegante, figurativa, y fantástica, consigue transformar los símbolos del imaginario colectivo para narrar visualmente, de forma surrealista y crítica, sus preocupaciones y malestares hacía la sociedad actual, cada vez más alejada de la naturaleza. Utilizando un lenguaje pictórico que históricamente ha construido lo femenino como un objeto deseado, temido o adorado, Madeline von Foerster lo reconstruye desde su subjetividad, convirtiéndola en una heroína en defensa de la naturaleza.

Motherhood is a profound and multifaceted experience transcending biological, emotional, and societal dimensions, traditionally idealised for love and compassion, and is venerated as the supreme soul of caregivers. For society to thrive, families play a key role, and mothers are one of the most important players in this process. This paper, on the contrary, investigates the abject terror a mother may undergo because of patriarchal structures. As the horror genre reflects societal anxieties and fears the archetype of motherhood is used by horror writers to unearth the fears associated with it as well as challenge the perceptions society has of motherhood. The prime purpose of this study is to deconstruct the archetypal image of a mother with the subversion of traditional motherhood that is culturally imposed on a woman. This research article is devoted to analysing the Bollywood horror film Chhorii (2021) through the lens of Barbara Creed's theory of 'Mostrous-Feminine' that challenges Motherhood through a subversion of traditional conceptions of the role. With the help of the film, the researchers aim to manifest the disruption of socio-cultural expectations imposed on a mother and thereby explore her transgression of gender roles associated with motherhood by being monstrous in the narrative.

The purpose of this essay is to examine the archetypal construction of female characters in the works of three Nigerian novelists. It explores Adimora-Ezeigbo's, Emecheta's and Adichie's portrayal of women in their maternal, spiritual, educative, domestic and productive capacities (or locations), in an exclusive patriarchal society, using Jungian model. The study argues that through the protagonists display of archetypal Mothers' perfections and innocent youth, the novelists use womanhood to project definitely positive images of healthy nations and humanity. It posits that Jung's position that universal images had existed since the remotest times, are more or less hidden somewhere in our biological, psychological and social natures. It concludes that the views of archetypes as collective unconscious are capable of being applied in all human endeavours in the real world.

This artist catalogue has been produced for Lena Simic's solo performance Masha Serghyeevna (Bluecoat, Liverpool 2009) and while it predominantly focuses on this particular work, it also overviews the last five years (2004 – 2009) of Simic's performance making processes and practice: Medea/Mothers’ Clothes (Bluecoat, Liverpool 2004) Magdalena Makeup (Art Workshop Lazareti, Dubrovnik and Old Police Station Community Centre on Lark Lane, Liverpool 2004) Joan Trial (Nuffield Theatre, Lancaster 2005) Contemplation Time (2007-08) Sid Jonah Anderson by Lena Simic (MAP Live, Source Cafe, Carlisle 2008) The Institute for the Art and Practice of Dissent at Home (2007-ongoing). The first part of the catalogue notes Masha Serghyeevna and its processes whilst the second part of the catalogue gathers an array of commissioned critical perspectives, creative responses and affirmative contexts for Simic's previous work from friends, colleagues and herself. These include writing from Imo...

At Rutgers Robert Wood Johnson Medical School (RWJMS), PGY-1 and PGY-2 residents are taught psychopathology by reviewing various works in the horror genre through the curriculum known as Reviewing Mental Disorders through Reverent Understanding of the Macabre (REDRUM) [1]. The curriculum delineates multiple categories of mental disorders, each of which is highlighted by a fictional monster. For example, learners review a biographical account of the Romanian prince Vlad the Impaler to understand his ruthlessness; he was known for frequently impaling his enemies on stakes and reportedly drank their blood [2]. This allows students to appreciate Vlad's influence on the creation of Bram Stoker's Dracula (released in 1897), who is sustained on blood and can be only be killed by being impaled by a stake. Through more detailed character and plot analyses, Dracula comes to serve as a metaphorical case study of antisocial personality disorder. Such discussions of both historical context and fictional symbolism allow for a rich and memorable lesson on a given aspect of psychopathology. Our course expands from the "categorical monster" such as the vampire to include other films that demonstrate a more straightforward, albeit fictional, portrayal of mental disorders. One such film is the 1987 thriller Fatal Attraction [3] which serves as a case study of borderline personality disorder (BPD). This paper has two objectives. First, we will discuss Fatal Attraction's main antagonist, Alex Forest, as a fictional depiction of BPD. Second, we aim to demonstrate the creative aspect of REDRUM that teaches psychopathology and reinforces critical thinking skills in our learners. We will achieve this by linking Fatal Attraction to a more contemporary film, Gone Girl [4] (2014), to review convergence of cluster B personality disorder nosology. This will involve reimagining parts of each movie's timeline in order to strengthen the educational value of these vignettes.

"The Artist-Witch: Interrogating Interiority from the Witch's Perspective" is the final year dissertation submitted by fine artist Christa Swanepoel in her graduate year of University, earning her a distinction as well as her BA Fine Arts degree. In this paper, Swanepoel investigates the origins of the witch archetype in Western culture, its development from harmful superstition into a problematic stereotype, and the women artists who embraced these roles.

The article is dedicated to the analysis of the cosmogonic mythic motif and male / female archetypes in the space of the novel's text by Pidmohylny.Статтю присвячено аналізові космогонічного міфологічного мотиву і чоловічих / жіночих архетипів в романному просторі В. Підмогильного

Ouida Baggett Regan (1927-2017) was a female entrepreneur, developer, and active citizen of Pensacola, FL. But how did Ms. Regan, described by one male contemporary as the “petite blonde with gray-green eyes,” navigate gender norms of the mid-twentieth century? Through her business, the Baggett Construction Company, Regan built thousands of homes in Pensacola’s suburbs along with what would be the tallest building in the Florida panhandle for decades. She became a self-made millionaire, all of which challenged the cult of domesticity of the time. Traditionally, during the 1950s, a middle-class, white woman’s place was in the home—not building it. She resisted traditional historical conditions by developing throughout Florida and Puerto Rico and chairing the National Home Builder’s Association and Florida’s Council on Economic Development. Her attachment to femininity fuels this agency as she did not lose sight of what made her a woman. She attended debutante balls, hosted lavish parties, and wore extravagant apparel—all of which were regular highlights in the papers. This poster draws on newspapers and magazines to visually aid how the media portrayed Regan, through primary-source photographs, and headlines. Intellectually, this poster argues that women could break free from the domesticity stereotype of the 1950s and 60s, to be successful career-wise, while still holding onto their femininity—that the two concepts are not mutually exclusive. Measuring Regan’s success is challenging because today, there is no local memory of Regan’s effect on Pensacola nor the developing industry. By exploring Regan’s ability to strategically use ‘traditional’ female stereotypes to break the standard of the stay-at-home, married middle-class ideal, historians can learn that agency and tradition were considerably achievable even in the 1950s deep south.  Newspapers portrayed Regan as the single mom with a “honey-soft voice” and who ‘wears good clothes well;” however, she built a lucrative empire that transcended gender and appearance

The purpose of this essay is to examine the archetypal construction of female characters in the works of three Nigerian novelists. It explores Adimora-Ezeigbo's, Emecheta's and Adichie's portrayal of women in their maternal, spiritual, educative, domestic and productive capacities (or locations), in an exclusive patriarchal society, using Jungian model. The study argues that through the protagonists display of archetypal Mothers' perfections and innocent youth, the novelists use womanhood to project definitely positive images of healthy nations and humanity. It posits that Jung's position that universal images had existed since the remotest times, are more or less hidden somewhere in our biological, psychological and social natures. It concludes that the views of archetypes as collective unconscious are capable of being applied in all human endeavours in the real world.

En las siguientes líneas analizaremos la escena mítica que ocurre entre dos figuraciones femeninas, a saber: Baubo y Deméter. Nuestro interés en señalar dicha escena responde a rescatar una narración de alianza femenina frente a los relatos de rivalidad entre diosas y entre estas y mujeres y, también, frente a los relatos de fraternidad entre figuraciones masculinas.  Rescatar este mito nos permite reconstruir la imagen de un espacio seguro para mujeres, un lugar en el que compartir vida y muerte, dolor y alegría. Para ello recurriremos a las fuentes originales que nos transmiten esta escena, así como a reflexiones contemporáneas sobre este mito. Pasaremos a analizar los elementos que configuran la narración desarrollando la implicaciones que podrían tener para las mujeres con el objetivo de poder ofrecer una interpretación general que nos lleve a extraer una serie de consideraciones acerca de la posibilidad de una alianza genuina entre mujeres.

En las siguientes líneas analizaremos la escena mítica que ocurre entre dos figuraciones femeninas, a saber: Baubo y Deméter. Nuestro interés en señalar dicha escena responde a rescatar una narración de alianza femenina frente a los relatos de rivalidad entre diosas y entre estas y mujeres y, también, frente a los relatos de fraternidad entre figuraciones masculinas.  Rescatar este mito nos permite reconstruir la imagen de un espacio seguro para mujeres, un lugar en el que compartir vida y muerte, dolor y alegría. Para ello recurriremos a las fuentes originales que nos transmiten esta escena, así como a reflexiones contemporáneas sobre este mito. Pasaremos a analizar los elementos que configuran la narración desarrollando la implicaciones que podrían tener para las mujeres con el objetivo de poder ofrecer una interpretación general que nos lleve a extraer una serie de consideraciones acerca de la posibilidad de una alianza genuina entre mujeres.

El  número  39  de  la  revista  Asparkía.  Investigació  Feminista  reúne  diversas  investigaciones  que  giran  en  torno  al  tema  «Figuras  y  arquetipos  de  género  en  la  Grecia  Antigua»,  con  una  miscelánea  de  trabajos  que  abordan,  bajo  una  perspectiva interdisciplinar, cuestiones variadas dentro de los estudios de género y de la investigación feminista.El  monográfico  pretende  mostrar  la  diferente  asignación  de  papeles,  estatus  y  poder  a  mujeres  y  hombres  en  la  Antigua  Grecia  en  función  de  las  variables  sexo/género  —junto  a  otras  como  la  estratificación  social,  el  origen  étnico  o  la  edad— bajo la perspectiva de que lo femenino y lo masculino, así como los roles de género, son creaciones culturales inmersas en procesos de transformación de-pendientes de los diversos escenarios espacio-temporales.

Cleopatra es una de las figuras históricas que más repercusión y fama posterior han tenido, y uno de los temas más recurrentes en toda la pintura occidental. El episodio de su suicidio, supuestamente en manos de un áspid, cobró un gran protagonismo en la pintura entre los siglos XVI y XIX. Sin embargo, esa construcción iconográfica que se hizo de su muerte estaba basada en la visión fraudulenta que la campaña política de Octavio transmitió. Se divulgó la imagen de una reina devora hombres, una femme fatale capaz de cualquier cosa con tal de mantener el poder. La pintura a partir del siglo XVI no solo mantuvo esta idea, sino que añadió algunos elementos iconográficos que han contribuido de manera notable a la creación del mito de Cleopatra.  El pintar el áspid del tamaño de una lombriz, o el trasladar la picadura al pezón, son tan solo algunos elementos de esta mitografía pictórica. En este artículo, partiremos de las campañas de desprestigio romanas para hacer un análisis de las falsedades sobre su muerte que la iconografía posterior legó a nuestros días, y que contribuyeron que la distorsión de la imagen de la reina.

The song is an integral part of Bollywood films, just as it is integral to cultural and religious practices in India. This key component of mainstream Indian films, can provide a space to explore and negotiate in general terms modernity and tradition, and specific to this essay, the sacred and the sexy using the female form.

Just to add, I wrote this essay for my Bachelor's thesis in 2014. Since then Bollywood has changed and some references now feel outdated. Not to mention, in the time since I first wrote this essay, I have gained a broader understanding of the application of South Asian identities and not just just Indian or hindu-centric ideas.

Resumen

El presente artículo aborda la peculiar obra de una mujer actual, que desde una técnica pictórica tradicional, elegante, figurativa, y fantástica, consigue transformar los símbolos del imaginario colectivo para narrar visualmente, de forma surrealista y crítica, sus preocupaciones y malestares hacía la sociedad actual, cada vez más alejada de la naturaleza. Utilizando un lenguaje pictórico que históricamente ha construido lo femenino como un objeto deseado, temido o adorado, Madeline von Foerster lo reconstruye desde su subjetividad, convirtiéndola en una heroína en defensa de la naturaleza.
Abstract

This article deals with the peculiar work of a current woman, from a traditional painting technique, elegant, figurative, and fantastic, manages to transform the symbols of the collective imaginary, to tell visually, in a surreal and critical way, today’s society made their concerns and discomforts ever more distant from nature. Using a pictorial language that historically has built the feminine as an object desired, feared or adored, Madeline von Foerster reconstructs it from its subjectivity, making her heroine in defence of nature.

Σκοπός της εργασίας είναι να διερευνηθούν οι τρόποι που μεταχειρίζεται στο έργο του ο Julio Cortázar, προκειμένου να αναδείξει και να εμπλουτίσει αρχέτυπες εικόνες της ελληνικής μυθολογίας και της ιστορίας. Η εργασία αποτελείται από τέσσερις ενότητες. Οι τρεις πρώτες πραγματεύονται κείμενα του συγγραφέα που βασίζονται εξολοκλήρου στον μύθο. Ξεκινώντας από το πρώτο έργο που δημοσιεύει ο Cortázar με το όνομά του, το ποιητικό δράμα Οι Βασιλείς, επιχειρούμε να δείξουμε πώς ο συγγραφέας, αντιστρέφοντας τον μύθο του Θησέα και του Μινώταυρου, ανανεώνει τις αρχέτυπες εικόνες του ήρωα και του λαβύρινθου, δίνοντας παράλληλα πολιτικές και φιλοσοφικές προεκτάσεις στον μύθο. Στη δεύτερη ενότητα συνεξετάζονται η «Κίρκη» και «Οι Μαινάδες», δύο διηγήματα με κοινό παρονομαστή το μυθολογικό διακείμενο στον τίτλο και την υπαινικτική αναβίωση του μύθου σε ένα σύγχρονο πλαίσιο. Η μελέτη επικεντρώνεται στον σχολιασμό του αρνητικού θηλυκού αρχετύπου που αναπαράγεται και στην ανθρωπολογική-πολιτική διάσταση του μαιναδισμού, ενώ παράλληλα δίνεται το έναυσμα να παρουσιαστούν τα χαρακτηριστικά τού νεοφανταστικού διηγήματος. Το θέμα του αρνητικού θηλυκού αρχέτυπου επανέρχεται στην τρίτη ενότητα με τη μορφή ενός κυκλαδικού ειδωλίου, που γίνεται η αφορμή για την επανάληψη μιας θυσιαστικής τελετουργίας. Στο διήγημα «El Ídolo de las Cícladas» ο μύθος εισβάλλει καταστροφικά στη σύγχρονη ζωή, προσθέτοντας τον ντετερμινισμό και το παράδοξο στους όρους του νεοφανταστικού. Στην τέταρτη ενότητα, προτάσσεται ένας πίνακας με συγκεντρωμένες μυθολογικές αναφορές από διάφορα έργα του Cortázar και στη συνέχεια συμπληρώνονται τα βασικά μυθολογικά θέματα που αναπτύσσονται στις προηγούμενες ενότητες: ο λαβύρινθος και τα θηλυκά αρχέτυπα. Έπειτα, εξετάζεται η σχέση του συγγραφέα με τον Ηράκλειτο, τον Σωκράτη και τον Πλάτωνα, στο πλαίσιο πάντα της αρχετυπικής επανάληψης, και γίνεται μία σύντομη μνεία άλλων ελληνικών αναφορών που συναντώνται στο έργο του. Στο επιλογικό μέρος της εργασίας, επανεξετάζονται τα έργα και τα θέματα που μελετήθηκαν στο σώμα της εργασίας, τώρα πια μέσα από το πρίσμα των θεωρητικών κειμένων του συγγραφέα. Σκοπός μας είναι να καταδείξουμε πως οι ποικιλότροποι μετασχηματισμοί της ελληνικής γραμματείας είναι για τον Cortázar δυνατότητες αναπαράστασης ενός κόσμου που εγκολπώνεται το φανταστικό ως κομμάτι του πραγματικού και λειτουργούν ως κώδικες κοινώς αποδεκτοί για να κοινωνήσει ο συγγραφέας τη δική του αλήθεια.
The aim of this work is to investigate the ways that Julio Cortázar engages in order to bring out and enrich archetypal images of the greek mythology and history. The work consists of four units. The first three deal with texts that are completely based on the myth. Beginning with the first work that Cortázar publishes using his name, the poetic drama Los Reyes, we attempt to show how the writer renews the archetypal images of the hero and the labyrinth by reversing the myth of Theseus and Minotaur, giving at the same time political and philosophical dimensions to the myth. The second section puts together “Circe” and “Las Ménades”, two short stories with common denominator the mythological intertext in the titles and the allusive revival of the myth in a modern context. The research focuses on the annotation of the recreated negative female archetype and the anthropological-political dimension of menadism. The observations made in this unit also trigger off the presentation of the characteristics of the neo-fantastic short stories. The topic of the negative female archetype is brought back in the third unit in the form of a cycladic idol that causes the repetition of a sacrificial ritual. In the story “El Ídolo de las Cícladas”, the myth invades modern life catastrophically, adding the elements of determinism and absurd to the terms of the neo-fantastic. In the fourth section, we introduce a summary table of mythological references from several works of Cortázar. We also rediscuss the principal topics that are examined in the previous sections –the labyrinth and the negative female archetype– complementing them with references from other works of the author. Moreover, we examine the relation that Cortázar establishes with Heraclitus, Socrates and Plato, with regard to the archetypical repetition, and we also make a short mention of other greek references that can be found in the works of the author. In the conclusive part of the essay, we re-examine the works and the topics that are studied in the basic corpus of this research, from the perspective of the theoretical work of Cortázar. Our aim is to demonstrate that the various transformations of the greek literature and history are used by Cortázar as possible representations of a world that embraces the fantastic as part of the real, functioning at the same time as generally accepted codes that allow him to communicate his own truth.

What could go wrong on a sunny Sunday afternoon? In the short story, “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, the reader is presented with the normal life, of a normal teenage girl, that suddenly takes a dark turn. When two old looking ‘teenagers’ show up at Connie’s driveway, it does not take long for the reader and Connie to understand the shady nature of the uninvited guests. During the course of a few minutes, we see Connie shapeshift into different female archetypes, but none of them helps her overcome the dangerous situation she finds herself in. She goes from being the ‘femme fatale,’ to the ‘maiden in distress,’ and finally ‘the martyr,’ sacrificing herself for her family. In typical storylines, authors usually blame the vanity of the heroine for her fate, but Oates sympathizes with Connie. She tries to bring to the reader’s attention the issue of families and societies failure to encourage females to create a stronger sense of identity.

Abstract:  Sociology has a growing body of research on domestic care circuits, but most of this well-grounded work focuses specifically on exploitation and globalization and does not tell the whole story. Novels, which often rely upon readers' intimacy with characters and an ability to reflect readers' suppressed desires, cast a different light on this relationship. In some stories nannies are painted as seductresses who interrupt the heterosexual relationship between their employers by engaging sexually with the fathers/husbands. In other (more interesting) cases, the nanny still interrupts the heterosexual partnership of her employers, but she is invited into it by the mother-employer, who may see the nanny as replacing her own mother. In this liminal role, the nanny becomes a love interest that reifies the theory put forth by Nancy Chodorow in The Reproduction of Mothering. My work will extend Chodorow's research by focusing specifically upon her claim that women may not fully individuate from their mothers and thus stay in a bisexual love triangle between her mother and male romantic partner. The corpus that will be analyzed also includes the following contemporary fiction by international authors: Sans Moi by Marie Desplechin (France), Lucy by Jamaica Kincaid (US), A Gate at the Stairs by Lorrie Moore (US), My Hollywood by Mona Simpson (US), and The Space Between Us by Thrity Umrigar (India)

Published in ENKELADOS , anno 3, n. 2, 2015 Nuova Ipsa Editore
ABSTRACT
Attraverso una narrazione immaginale nata dal testimoniare esperienze di immaginazione attiva in movimento nella stanza analisi, l’autrice ci conduce nello spazio intermedio della materia oscura, al confine tra corpo e psiche, tra conscio e inconscio, tra visibile ed invisibile. Focalizzando l’attenzione sul processo di individuazione della psiche femminile l’autrice sottolinea, sul piano individuale e collettivo, l’importanza del confronto con l’Ombra e la riconnessione con la propria Anima attraverso l’esperienza dell’immaginazione attiva in movimento. Fondamentale è il riconoscimento degli elementi solari legati all’archetipo del femminile. Le scoperte archeologiche degli ultimi decenni ci invitano a riconsiderare gli strati più profondi dell’inconscio collettivo e ci conducono verso rinnovate prospettive. La maggior parte delle antiche Dee erano associate al Sole. Immagini dell’antica sovranità femminile, per secoli e secoli rimosse dalla coscienza collettiva, si affacciano alla soglia della coscienza e portano ad un ribaltamento di prospettive. Viaggiando tra materia oscura e antiche dee del sole è possibile rinnovare la luce di una coscienza nuova e antica. Una coscienza evoluta che ci permetta di far riemergere origini dimenticate attivando potenziali rigenerativi. Siamo davvero così sicuri che la luna, che brilla di luce riflessa, corrisponda all’archetipo del femminile mentre il sole, che brilla di luce propria, corrisponda all’archetipo del maschile?

From witnessing active imagination in movement inside the analytical room, the author brings us in an imaginal intermediate space inside the dark matter; through an imaginal narrative we travel on the border between body and psyche, conscious and unconscious, visible and invisible. Focusing her attention on the individuation process of the feminine psyche, the author underlines the importance of the confrontation with the Shadow and the reconnection with the Anima through active imagination in movement. Her focus is both on individual and collective psyche. The recognition of the solar aspects of the feminine archetype is of primary importance. The archaeological discoveries of the past decades invite us to reconsider the deepest layers of the collective unconscious and bring us towards a revised perspective. Most of the ancient goddesses were associated with the Sun. This new awareness invite us toward an upturning of point of view. Travelling between dark matter and ancient solar goddesses we can release the light of a new and ancient conscience. An evolved conscience that allows us to rediscover forgotten origins, which activates a regenerative potential. Are we so sure that the moon, whose shining is a reflection,  belongs to the feminine archetype while the sun, whose shining is in itself, belongs to the masculine archetype?

This chapter will address the dark side of female desire by comparing Michael Haneke's The Piano Teacher (2001) with Darren Aronofsky's latest release Black Swan (2010). Both female film protagonists violently harm themselves in these narratives while exploring their sexual fantasies. In Haneke's film the outcome remains ambiguous: the pianist, Erika Kohut (Isabelle Huppert), walks out of the frame with a self-inflicted bleeding wound in her chest (fig.8.1.).

The essay explores various responses to artistic practices of Orlan’s, a French artist, performer and art historian. It puts emphasis on the project entitled “Reincarnations of Saint Orlan” and her manifesto of carnal art as an example of feminist criticism of Western construct of the viewing subject, the male gaze, and the voyeur. The argument carried out by John Berger in Ways of seeing, together with the assumptions of the pictorial turn, set the analytic foreground for this paper. Further discussion over identity politics, biopolitics, aesthetics of conceptual and post-humanism art provokes fundamental questions concerning overall rejection of Orlan’s artistic performances and postulates, both among popular culture and academic community. Referring to figures of monsters, goddesses and cyborgs derived from the culture iconic space e.g. petrifying image of Gorgon Medusa, Frankenstein, or the protagonist of Alien cinematic series, the essay seeks ways to enable broader and more engaging debate around Orlan’s carnal art

1 | P a g e H e a t h e r G r a v e s "The Hand that rocks the cradle is the hand that rules the world": Constructions of the monstrous mother in the contemporary thriller, The femme fatale is one feminine identity that has evoked both fascination and fear over thousands of years, has been studied in great depth and become a popular motif in cinema. Whilst her representations may have changed over time, seeing as 'fantasies of women are sociohistorically based and thus affected by the position of women in any given historical moment' (Grossman, 2009:3), the figure of the femme fatale has recurred in many different periods, suggesting that there is something enduring about her cultural significance.