Archetypal Motifs Research Articles

"COMPARATIVE ANALYSIS OF EPICS"

This paper presents a comprehensive comparative analysis of epics across different cultures, delving into their intricate narratives, thematic underpinnings, and socio-cultural significance. Epics, as timeless literary masterpieces, serve as repositories of cultural heritage and collective memory, embodying the ethos and values of diverse civilizations. Through a comparative lens, this study aims to elucidate the commonalities and divergences among epics, shedding light on the universal themes that resonate across human experiences while also highlighting the nuances shaped by specific cultural contexts. Drawing upon a diverse array of epic traditions such as the Indian Mahabharata, the Greek Odyssey, the Norse Edda, and the African Sundiata, among others, this analysis navigates through the rich tapestry of myth, legend, and heroic exploits. It examines the archetypal motifs of heroism, fate, and the struggle between good and evil, which permeate these narratives, transcending geographical boundaries and temporal epochs. Furthermore, this comparative study explores the socio-cultural functions of epics, elucidating their roles in shaping collective identity, moral codes, and societal norms. By juxtaposing epics from different cultures, this research seeks to unravel the intricate interplay between myth and history, oral tradition and written text, and the dynamic process of cultural transmission and adaptation. Through this interdisciplinary approach, this paper contributes to a deeper understanding of the human condition, elucidating how epics serve as mirrors reflecting the aspirations, fears, and aspirations of humanity across epochs and geographies. Ultimately, this comparative analysis endeavours to foster cross-cultural dialogue and appreciation, recognizing the enduring relevance and timeless allure of epic literature in the global mosaic of human civilization.

Martin Romberg’s Choral Music: Stylistic Features

Contemporary choral music from Scandinavia increasingly attracts the attention of performing groups both abroad and in Russia due to its deep originality and distinctiveness. The article examines the choral work of the contemporary Norwegian composer Martin Romberg, whose work is characterised by Neo-Romantic poetics and style. Three of his choral cycles are subjected to detailed analysis: Aradia (2012), Rúnatal (2012), and Requiem of Runes (2022). The themes of the works reflect the Norwegian composer’s interest in mysticism and mythology, as well as in archetypal motifs and plots. The relationship between words and music in his choral compositions is structured according to traditional concepts. The features of the modal-intonation sphere and the structural organisation of the works are determined both by the general artistic concept and by the phonetic properties of the language of the poetic sources, including the specifics of their verse organisation (for example, alliterative versification). Along with a general reliance on a Romantic tonal idiom, Romberg’s musical language reveals elements of medieval modal archaism, jazz, and Russian song, which are intertwined in an organic unity. The compositions of the 2010s use elements of phonemic composition techniques and Klangfarbenmelodie [“sound-colour melody”], along with various phonic approaches. In the later work (Requiem), the choral writing is simplified, but the interest in timbral experiments remains, as manifested in the unusually low tessitura of the sound of all the voices, which is conditioned by ideas of “depth” and “ascension” of register.

SYMBOLISM OF IMAGES IN THE OPERAS OF MYKOLA LYSENKO “TARAS BULBA” AND “NOKTURN”

Artists of the early 21st century, unlike previous time intervals, are attracted to those stylistic trends that were characteristic of a century ago. Despite the non-symbolist manifestations in Postmodernism, which have almost completely exhausted their resources in the first decade of the 21st century, they are once again attracting the attention of not so many representatives of the art circles as art analytics, in particular, musicologists. After all, in the previous Soviet period, there was no talk of European style trends. The creativity of the founder of Ukrainian classical music Mykola Lysenko also needs a rethinking of style principles. Mykola Lysenko opera creativity directly related to the stylistic direction of Romanticism, which at the time was dominant in Eastern European culture and was indirectly reflected in the creation of his first teacher Rimsky-Korsakov. This style direction was undoubtedly dominant in the work of the composer, although it allowed him to go outside and create a wing – heroic romanticism (an example of this is the heroic-romantic opera Taras Bulba). However, the composer, as a creative personality, at that time represented another generation of artists, and therefore it was not so much his style direction as priority for him to find something new, personal in it. This is evidenced by the search for new genres in music that would make it possible to go beyond Romanticism and bring Ukrainian music to the new frontiers of styling. Such were the works of Mykola Lysenko as children’s operas, which were a personal find of the Ukrainian classic in opera as a whole. It should be noted that the end of the nineteenth century was marked by the work of Mykola Lysenko on the opera “Taras Bulba”. This work clearly traces the symbolism declared in patriotic service to its people, which completely offset the slave complex of Gogol’s protagonist, in the opera. In addition, the author of the opera muffled the clown and carnal pull in the actions and behavior of other characters, directing them into a common patriotic channel. At the same time, Christian didactics and morality are more muted in Lysenko’s opera – the protagonist’s slaughter, the compatibility of his figure with the biblical archetypal motif. Semantic components that are present in the Mykola Lysenko’s opera “Taras Bulba” related to the works of composers Symbolists. This is confirmed in the first place, the presence of these original works signs symbolism. The first of these is the presence of quartile juxtapositions in harmony, which makes them clearly unacceptable in early Christian church music. In 1912, Mykola Lysenko wrote the latest opera Nocturne. In this work, the means of naive paintings demonstrate fantastic lively portraits. At the same time, they are as household and unpretentious, as ordinary as they are in the genre. The plot of Lysenko's opera “Nocturne” is accompanied by the release of The Maid, who in no way perceives neither poetry nor dreamy singing, represented by the picturesque plasticity on stage. Mykola Lysenko’s conscious use of character symbols in the music demonstrates the final quintet, which presents “flickering” of the chords of the same name, soft scribbling, a combination of a singing ensemble of human characters and two crickets. Thus, the symbolist movements that were characteristic of European art of the 1880’s –1910’s did not go beyond Mykola Lysenko’s works. First of all, they touched upon his operatic work, in particular – “Taras Bulba” and “Nocturne”. The most revealing symbolic manifestations are the musical and expressive means of the composer – rhythmic models, declining sound intonations, quartile moves of harmonic comparisons and more. They and the composer’s stylistic formation attribute his belonging to a particular artistic direction (in this case – to Symbolism). Mykola Lysenko was the first to use symbols-signs that mark the calls to fight against enslavement, faithfulness and devotion to his people, the Orthodox faith. That is why the operas “Taras Bulba” and “Nocturne” always surprise not only Ukrainians but also other European peoples with their stylistic capacity and organic style.

Primjena storitelinga u političkim odnosima s javnošću

Storytelling is one of the techniques in public relations. Its application is based on man's need to transpone life into stories and psychological mechanisms that make people think through metaphors and share a common experience through mythical and archetypal motifs deeply embedded in their collective unconscious. Sociological observations of narratives emphasize the important role of stories in the construction of the self and collectivity, in the establishing and maintenance of social authorities, while treating the story as a critical and even liberating discursive form. Global insecurity and modern technologies have increased the use of webcasting in various media, which, in the era of information blizzard, identity hyperproduction and the tribal character of the Internet, turns out to be an effective tool for the promotion of political candidates, for which this research offers a number of illustrative examples from different political and cultural milieus.

Archaic archetypes and symbols of the Ukrainian and Russian peoples: to debunk the myth of a single people

The article models the protocultural fields of the archetypal-mythological memory of Ukrainians and Russians as consisting of divergent elements. The core of the fields are archaic cultural archetypes and archetypal motifs “mother”, “field”, “plowman”, “labor”, “individualism”, and “equality” for Ukrainians, and “father”, “distance”, “vastness”, “inertia”, “collectivism”, and “submission” for Russians. The сore archetypes determine the differences in the ethnic mentality of two peoples and can enter the subsequent semiospheres and political mythology without significant adaptation, transforming into symbols of national identity. The periphery is formed by archetypes common, but re-articulated in subsequent semiospheres to be adapted to national narratives of different periods. The general archetype Sacred space was associated in the archaic consciousness of Ukrainians with the “House”, symbolizing the maternal principle and the Motherland, while the Russians embodied this archetype in the symbols of the Holy Mountain, metonymically expanded to the symbols of “Holy Rus”, Heartland, Rimland, defining the motif of messianism in symbolic politics of Russia. The archetype of the Hero is manifested in Ukrainian folklore by the images of the legendary plowmen, who conquer the steppe elements from the nomads, while in the Russian ethnic consciousness it is interpreted as the Messiah-Savior of the world.

The Gospel Text and Its Role in the Formation of the Literary Plot (The Idiot by F. M. Dostoevsky and Doctor Zhivago by B. L. Pasternak)

The analysis of any literary text containing biblical motifs has repeatedly attracted the attention of researchers. The purpose of this article is to examine the gospel plot, highlight its invariant properties and find out how F. M. Dostoevsky and B. L. Pasternak use archetypal motifs that allow these images to fit into the Christo-centric structure of both works. This structure is based on associations related to the relationship between Christ and Mary Magdalene and the forming complex of motifs: beauty, fall, suffering, spiritual transformation and resurrection for a new life. In addition to such archetypal motifs, both authors use motifs that go beyond the scope of the evangelical text, including the motifs of childlike innocence, light and the railway, which set the main coordinates of the formation of heroes. Hence, it is shown that the interaction of two groups of motifs provides the dynamics of the development of the literary plot of the novels The Idiot and Doctor Zhivago.

UNIVERSAL COMPONENTS OF SYMBOLIC IMAGERY IN NARRATIVE OF UKRAINIAN AND ENGLISH FAIRY TALES

Introduction. The paper focuses on the study of fairy-tale narrative with special interest to the universal components of the folk tale symbolic imagery. Semiotic (symbolic) facet in the Ukrainian and English fairy-tales’ narrative analysis contributes to further investigations inthe field of linguosemiotic, linguocultural, literary-semiotic and other cross-disciplinary studies.Purpose. The paper aims at revealing of common archetypes or prototypes of the symbolic images and motifs in Ukrainian and English fairy tales.To achieve this purpose we have applied the integrative methodology based on methods of contextual interpretation analysis, intertextual analysis, elements of the method of comparative analysis of Ukrainian and English fairy tales, as well as elements of the methods of archetypaland narrative analyses.The major results refer to the identifying the similar symbolic properties of the Ukrainian and English fairy tales. We have revealed and described the most widespread symbolic images: a symbol of forest as a boundary space between fantastic worlds and, at the same time, a netherworld, associated with the universal motif of initiation; a symbol of tree manifested bythe symbolic images of oak and apple tree acting both as the character’s assistant and mediator between the worlds; an ambivalent symbol of apple involving the archetypal motifs of eternal youth, earthly desires, temptations and transition to another world. Next recurrent motif is thepersonage’s transformation into an animal or a bird, metaphorically manifesting the archetypal idea of ancestors’ reincarnation in totems. The motif of marriage on animals is no less common in tales together with the motive of the totem assistant. Both the bird and the horse belongto universal mythologems, the former associating with a symbol of the soul and metonymically performing a function of the content of the soul, and the latter acting as an assistant and a mediator between the worlds. The archetypal symbols of fire and water are symbolically reinterpretedin fairy tales as the border between the worlds, manifestations of the idea of good and evil, symbols of purification as well as in paradigms of ambivalent images appearing as the metonymicmanifestations of the basic symbols.Conclusion. Constant images of fairy tales symbolize the unity of man with nature, with animals and birds, elements of being. The fairy-tale symbols appear as a system organization, the paradigm of images, with numerous metonymic and metaphorical derivatives from basic symbols, as well as the syntagmatic symbolic links between archetypal symbols and associatedsymbolic motifs.

Кластеры мифологических следов в современном женском творчестве

The subject of the study is a number of works of the first quarter of the 21st century created by Russian women — composers and writers. The structure and content of the works under study reveal the important trends for modern culture related to “feminine optics”, which justifies the relevance of research. The novelty of the research lies in revising the previous approaches to women’s creativity and introducing a new term for a previously unexplored phenomenon — a “cluster of mythological traces”. The author describes the examples of clusters in the Baroque music, the opera of the 19th century, and the music of the 20th century, and explains the difference between a cluster and a bricolage. The article analyzes in detail the cluster of mythological traces in the works by Sofia Gubaidulina, Elena Firsova, and in the media opera Einstein and Margarita... by Iraida Yusupova, which reveals connotations of many archetypal images and musical motifs. Additionally, it discusses a number of works in belles lettres, including Dead Pianists by Ekaterina Ru, Experiments on Yourself. Entertaining Diagnostics by Olga Shamborant, and the adventure novel The Ghost Ship by Victoria Platova. A special feature of clusters of mythological traces in literature is the active involvement of cinematic images and motifs along with the literary and mythological ones. Cinema, in turn, is also attracted to certain genres of literary creativity. An example of this is the paradoxical reference to the hagiographic literature in the film by Kira Muratova, The Sentimental Policeman. It is noted that a cluster of mythological traces is capable of both expanding the semantic field of the work and creating eclecticism, playing with various clichés. The conducted research for the first time reveals the sensemaking trend in women’s texts and analyzes its components. The author studies how clusters of mythological traces influence the features of poetics in sound and verbal creativity and puts forward hypotheses about the causes for the “feminine optics” and its peculiarities. A significant conclusion of the study is that the concept of a cluster of mythological traces in the feminine optics opens up a set of cultural concepts that support the function of preserving heritage in modern culture, especially in understanding the inseparability of origins, the infinity of meanings, and the scale of the worldview and the humanistic paradigm.

Kabbalistic Lurianic Myth as a Field of Transformation

Abstract According to the Kabbalistic Lurianic mysticism, the divine light fell into the world because of the rupture of the vessels. The sparks of light became alienated from their transcendent origin and have to be reunified. Likewise, for Jung, individuation is a process of wholeness and reclaiming to consciousness splits of the psyche. The Lurianic myth may be an archetypal motif of the psyche. It may also be viewed as an imaginal field where transformation occurs, with an activation of the archetype of the Self, the birth of a new relationship to the Self, and a new attitude towards the world.

Girls, gold, and gods: perverted individualism and heightened secularism in O’Neill‘s Desire Under the Elms

ABSTRACT Beyond the archetypal themes and motifs such as chauvinism, family dysfunctions and conflicts, Nietzschean and Freudian elements, Desire Under the Elms was a critique of America’s brands of individualist and secularist ideologies. Spreading in the US at the time was a faulty form of individualism which continues to affect and permeate other parts of the world through cultural imperialism. Concomitant with perverted self-reliance was a growing secularist worldview that was challenging established religion, as if demanding freedom from hundreds of years of clout from Calvinist Christianity. In this article, I will emphasize that the drama captured an increased preference for an extreme form of individualism that was going wayward, juxtaposed with the movement toward secularization before and during the early 1900s. Further, I will highlight that these twin ideologies underpin the three major themes in the award-winning drama: the peripheralization, objectification, and often negative portrayal of women, the obsession over possessions and of persons, and the rejection of religion.

The Jaguar, The Fire, The Man: A Jungian Interpretation of a Brazilian Indigenous Tale

Fairy tale interpretation is a common practice among Jungian analysts, although tales originating from early societies in which the level of culture achievement is still in its primordial wrapping are less often analyzed. The objective of this paper, therefore, was to investigate a tale from the depth psychology point of view, which was originally collected from a group of indigenous Brazilian tribes. Several versions of this tale deal with the motif of the theft of fire. In this narrative, the owner of fire is the most prominent being of the forest: the Jaguar. The Jungian interpretation demonstrates the ordeals of a young fellow who, after serendipitously venturing into the jungle, ends up stealing fire from the god. In this tale, one will recognize the archetypal disposition that creates and fosters human consciousness, represented by the acquisition of cultural goods and progressive differentiation from nature. The archetypal motifs present in this Amerindian tale are also contrasted with dreams of modern individuals so as to demonstrate the pertinence of the theme for psychological development.

Мифо-архетипические мотивы психобиографии Тараса Шевченко

The study of various aspects of the symbolic biography of Taras Shevchenko is a contemporary direction of modern Ukrainian literary criticism. This article analyzes the mythological and archetypal motifs in Great Mother. They played a special role in the life and work of the poet, who never made up for the slave and orphan complexes. The strategy of symbolic-biographical analysis significantly expands the psychoanalytic context of the study.

MRGUDA BY PETAR KOČIĆ – A VICTIM OR A REAL HERO

A strong love and suffering because of it, almost an archetypal motif and a common mythopoetic theme, is the basis of the story Mrguda by Petar Kočić. Mrguda represents poeticized death with the power of great ancient heroes of post-Homeric age. It seems that only by death is Mrguda able to restrain body strength and desire, the fire that cannot be quenched; to overpower physical by spiritual. The character of Mrguda can be seen not in the fight, as Vitomir Vuletić wrote, but in yearning for death – or phraseologically – in heroic death. Does a suicide possess heroic or brave qualities, that is an eternal question. Mrguda’s taking is, in one hand, taking of the body, while the soul remains to live; taking the soul would go into another direction – the body does not belong to the universe, memory and eternity anyway.

«КАЛЕЧИНА-МАЛЕЧИНА» НЕ МОЖЕТ СТАТЬ УМНИЦЕЙ»: МОТИВНЫЕ И СЮЖЕТНЫЕ ПЕРЕКЛИЧКИ В РОМАНАХ О ДЕВОЧКАХ-ПОДРОСТКАХ ЕВГЕНИИ НЕКРАСОВОЙ И ХУАН БЭЙЦЗЯ

The article is devoted to comparative analysis of images and motifs in the novels KalechinaMalechina by Evgenia Nekrasova and I Will Be a Smart Girl by Huang Beijia, about teenage girls. These texts reveal similarities at the level of the image system, the archetypal motifs and the inner development of the mythological plot about the initiation of a child into adulthood. However, many similar motifs in the novels appear in contrasting functions: E. Nekrasova's novel shows the joyless world of an unloved child, while in Huang Beijia's novel we see the world of a wholesome and well-loved child, suffering from her own school failures. The artistic method of the novels is examined in relation to their mythological motifs. The Chinese text gravitates towards the traditions of socialist realism, performing one of its functions most characteristic of teenage literature – didacticism. Huang Beijia's novel can be described as a didactic auteur tale based on biographical material. The Russian text has been described by scholars as «magical» realism and is more than just an initiation novel or a didactic tale. It realises the eternal philosophical sense of the impact of love or its absence on human fate, the ontological abandonment of the human soul facing indifference or aggression from the world around it. It is not the protagonist's initiation but her ability to «survive» without losing herself that is central to the Russian novel.

К вопросу о природе политекстуальных комплексов в литературе

The article examines polytextual complexes integrated by certain geosocial localization. The aim is to establish theoretical grounds for highlighting and studying these complexes from the standpoint of literary studies. The description and systematization of philological studies in the field of such polytextual complexes as topos texts, or supertexts, allows us to trace the tendency towards a structuralist understanding of the phenomenon on the one hand and a mythopoetic interpretation on the other. Topos texts related by their intertextual and semantic connections are considered as palimpsest semiotic formations, in which individual texts are connected by paradigmatic links with a particular complex of archetypal motifs. The essay seeks to propose a more accurate terminology as a result of the mentioned analysis. It proposes distinguishing intertextual complexes from thematic unities, cycles, and cycloid ensembles relying on the mythopoetic nature of these complexes. Finally, the article gives a definition to the term “megatext” that it introduces.

АРХЕТИПТІҢ ПСИХОЛОГИЯЛЫҚ ЖӘНЕ ФИЛОЛОГИЯЛЫҚ АСПЕКТІЛЕРІ

In our article, we paid attention to the history of the concept of archetype, studied and analyzed the concepts of archetypal plot, motive, and stopped at its place in literature, mythology, psychology, and culture. We paid special attention to the work of the Swiss scientist-psychologist C. G. Jung, who introduced the term archetype into science and studied it in psychological, philosophical, and cultural aspects. Having identified the first archetypal images shown by Jung, we made an analysis, giving importance to the role of the concept of" collective unconscious " in the archetype. In addition, we determined the scientific significance of philological research. The concepts of archetypal plot and archetypal motif introduced by the Russian scientist Meletensky were defined, and examples of archetypal motifs and plots in mythology were given. We have analyzed the concepts of myth and archetype, citing the scientific justifications in the literature. The development of the mythical motif in the works of modern Kazakh writers requires a detailed study of the concept of archetype. At all times, literature cannot separate itself from its original source –myth. Since the Archetype is closely related to mythology, we believe that the importance of this topic is very high today

Архетипический мотив хаоса в сюжетной структуре повести А. П. Чехова «Убийство»

The article examines the representation of chaos motif, which is the most general one among archetypal motifs, in A. P. Chekhov’s The Murder (1895). Chaos motif arranges the plot structure, being represented in its variants, such as misbelief and nature and space disorder. In The Murder, the central event is determined by mental disorders of characters. Each of them stands on their unique religious outlook. Matvei Terekhov teaches his cousin Yakov to accept the fundamental rules of Church, but he is not always true to his beliefs, too. The true reason of murder is hate towards each other, including Yakov’s sister Aglaya – it is a hate crime, which represents total moral destruction. Matvei’s death awakens new feelings in Yakov’s perception. Now he understands what suffering is. As he looks at prisoners, he gains his faith. All he wants to ask is why it was so hard to reveal the truth. Besides chaotic existence problems, three other types of archetypical motifs are realized. These are the following: natural chaos, spatial chaos, and unsafe home. Nature stands between winter and spring, and it is time for spring to arrive. This causes disorder all around, and makes Matvei feel anxious and frustrated. Space semantics also explicate chaos, especially in the final scene, in which Yakov tries to extrapolate his actual Sakhalin experience on his previous life. The narrative is based on spatial concepts here. And, finally, the symbol of home loses its meaning of safety in the semantic structure of the story. It turns out to be somebody’s else but not the family’s. And it causes panic fears among its habitants. Fear is one of basic reflexes on chaos extension. We conclude that the archetypal motif of chaos connects the plot levels, such as the murder event, lack of faith in the main characters, nature, space, and disorder at home. Thus, it is proven to be the motif core of the story.

АРХЕТИПЫ И ОБРАЗЫ КАЗАХСКОЙ НАЦИОНАЛЬНОЙ КУЛЬТУРЫ В ТВОРЧЕСТВЕ СОВРЕМЕННЫХ ХУДОЖНИКОВ

Background. reveals art analysis of archetypes and artistic images reflecting the Kazakh national culture in the paintings of modern artists of Kazakhstan The ways of art history analysis have been revealed for the most characteristic archetypes and artistic images of the Kazakh national culture, which are revealed by modern Kazakhstani artists in their paintings. A typological method is suggested in studying the development of contemporary contemporary art in Kazakhstan. The revival of the traditional worldview in the modern art of Kazakhstan is justified. Scientific novelty is connected with the historical and art history analysis of symbolizing, ethnosign functions of culture on the basis of reconstruction of the sign-symbolic system of the pictorial type, through which an interpretation of various types of contemporary art of Kazakhstan is given. Contemporary art of Kazakhstan is characterized by the integration of various types, genres and styles, while the development of the world by new means is carried out through signs and symbols established in the context of traditional culture. The performed art history analysis indicates that the sign-symbolic system of the Tengrian world picture is actively and quite fully implemented in various types and genres of modern art in Kazakhstan. In the works of contemporary artists, along with geometrics, signs and symbols of the animated world (plant and zoomorphic) are used, relevant in the aspect of the ecology of culture, as an answer to the global challenges of our time. The results are significant for theoretical and practical understanding of the problem under consideration, in particular, for Евразийский Союз Ученых (ЕСУ) # 2(71), 2020 5 deepening the description and analysis of works of art by Kazakh artists, as well as for further systematic analysis of works with elements of archetypal motifs and mythological images. Article materials can be used in training courses of art faculties and specialties

신데렐라의 유리 구두 원형 모티프에서 버자이너 모놀로그 둥근 이미지까지

〈삶의 향기 Taste of Life〉(2007)가 시작될 때, 여성 주인공 리우펭팡은 혼외정사로 인해 남편과 싸움을 벌이고 집 문밖으로 빠져나와 하이힐을 끊어버린다. 이 영화적 장면은 신데렐라 유리 구두의 전형적인 주제를 은유적으로 반영하고 있다. 신데렐라의 신발은 원래 추운 날씨에 신을 수 있는 모피 신발이었지만, 이야기는 어느덧 유리 구두로 바뀌었다. 유리 구두의 둥근 이미지의 메타포는 여성의 성기를 가리키고 유리가 신데렐라의 순결을 나타내기 때문에 모피 신발을 유리 구두로 대체한다고 많은 비평가가 지적하고 있다.<BR><BR> 〈삶의 향기＞의 이야기는 신데렐라 이야기에서 유리 구두의 전형적인 모티브로 시작하며 유리 구두가 질을 상징한다고 가정할 경우, 영화는 여성 주인공 리우 펭팡 자신의 버자이너 모놀로그 중국어 버전으로 간주될 수 있다. 〈Foret Debussy〉, 〈쌍둘이 팔찌 Twin Bracelets〉, 〈홍등 Raise the Red Lantern〉, 〈나는 반금련이 아니다 I Am Not Madame Bovary＞ 등의 영화에서도 원의 은유와 구멍의 둥근 이미지로 가득하다. 이들 영화는 여성 주인공의 인생 이야기에 중점을 두고 있으며, 여성 주인공 자신의 버자이너 모놀로그 중국어 버전으로 바라볼 수 있다. 이 논문은 〈삶의 향기〉, 〈Foret Debussy〉, 〈쌍둘이 팔찌〉, 〈홍등〉, 〈나는 반금련이 아니다〉등의 영화에서 나타난 신데렐라의 유리 구두, 은유적 원의 둥근 이미지를 강조하는 데 있다.

THE QUEST FOR INDIVIDUALITY IN FARIBA VAFI’S MY BIRD

One of the common themes in contemporary Persian literature in Iran is the psychological development of women and their challenges to find their path towards individuality. By applying Jungian “process of individuation,” Fariba Vafi’s novel My bird is analyzed to uncover the self- development of the female character. The motion of self-archetype is studied in relation to Jung’s theory of individuality to study how the female protagonist experiences this process of personality development. The motif of re-birth emerges at the end of the novel when the female heroine reaches a level of recognition of the changes occurring within her. Other archetypal motifs that appear in the novel are the house archetype, the shadow archetype, and the individuation archetype which are discussed as they are the main structuring elements in the formation of the theme of the novel. This research aims to study how the psychological development of the female protagonist, based on Jung’s archetypal theories, occurs. Keywords: Jung’s archetypes, shadow archetype, house archetype, individuation archetype.