Collective Unconsciousness Research Articles

Образ и маска в живописи Франсиско Гойи — онтологические и аксиологические аспекты

It is widely recognized that F. Goya’s development of a picturesque manner is in the vein of his great predecessors — El Greco and D. Velázquez. However, with all the importance of the experimental novelty of this Spanish master’s technique, the uniqueness of his creativity should be sought elsewhere. Goya managed to decidedly push the established boundaries of the European art expanding its range with the themes and problems that had previously been rarely and poorly represented. Anticipating an existential and anthropological shift that was evident back in the last decades of the 19th century and being almost a century ahead of it, those themes, plots, and problems were aimed at exteriorizing the inner world of man on the scale that appears to have never existed before. Goya systematically examines the human psyche in extreme existential situations when the conscious and the subconscious intertwine in a whimsical way. The specific feature of this perspective is an interest not in the individual and individuality but in the collective consciousness and the collective unconsciousness, as C. Jung would later justify it. The master’s true goal is to break through to where the archetypal components of the psyche, thinking, and behaviour rest. In this sense, the images of the mentally disturbed and the imprisoned become semantically significant, the atmosphere of madhouses and prisons, the world of human imagination that engendered the sphere of the irrational. Goya seeks the truth about man scrutinizing him in extreme situations and critical states. The artist often approaches the visualization of all this through a theatrical element — through masks, role-playing, and games. He is interested in that harsh inversion where a person, put into inhuman, unbearable conditions, can no longer to remain rational and turns into a dreadful, meaningless human mask. The main characteristics of the artist’s approach are explored in comparison with thematically similar works by William Hogarth, Henry Fuseli, and Théodore Géricault.

Alarms for Memory Sake -2 or the Degeneration of Man (Based on the Plays “To die is so hard” by Moushegh Ishkhan and “An Hour Memory” by Karine Khodikyan)

Key words: literature, memory, genocide, reference to historical memory, repetition Literature, being the guarantor of memory, at the same time can confirm oblivion, one of the versions of which is the invented memory. Memory is formed in time and may contain truth as well as falsehood. What do others expect from theliterature: how do we impose our memory on others but first of all on ourselves? We’ve observed that issue with a comparative analysis of the plays “To die is so hard’’ by M.Ishkhanand “An hour memory’’ by K.Khodikyan, taking into consideration the reality of our days. In M. Ishkhan’s play, a person’s memory pretends to become another person’s memory, which doesn’t become humanity’s memory and concern. In K.Khodikyan’s work, there are some temporal penetrations from the present to the past and from the past to the present accordingly, and a new conventionality is recreated with the such components as Armenian, memory, genocide, surgery, etc. The character’s words, actions and deeds along with what is depicted in the play are first of all the real search for identity, the very search for ethnic memory, because the genocide, the memory of it, sometimes the unwilling or unprepared opposition to that memory have already become a component of the collective unconsciousness of the Armenian man, which feels like something with a daily presence,nowadays expressed with a horrible consequence in the form of emigration, self-estrangement with the compulsion of globalization. We are forced into a loser’s psychology, as well as to its denial. Today, the greatest concern is closely connected with our personal genetic memory. Oblivion inevitably brings repetition. Let's think about our future, passing on our ethnic memory to future generations without loss.

Stereotypes-images and symbols-signs of a bee in the projection of the conceptual plane of linguistic consciousness

This article has several purposes: 1. analyse and identify stereotypical images of the entomological concept of bee in the Russian national linguistic consciousness; 2. reveal the symbolic content of linguistic consciousness by extracting semantic and symbolic signs attached to the stereotypical images of the entomological concept of bee; 3. establish the dynamic invariance (stability) and temporal relevance of the identified stereotypical images in the Russian linguistic picture of the world; 4. confirm the archetypal nature of bee images as universal “products” of the collective unconsciousness and indicators of being structure. According to the study results, stereotypical images of the concept of bee and its symbolic signs were revealed: the stereotype image «hard worker»: ‘hard work’, ‘painstaking’, ‘indefatigability’, ‘distinctness’, ‘purposefulness’, ‘endurance’, ‘perseverance’, ‘fruitfulness’, ‘diligence’, ‘organization’, ‘persistence’, ‘perseverance’, ‘concentration’; The stereotype image «social being»: ‘communism / collectivism’, ‘socialism’, ‘justice’, ‘equality’, ‘teamwork’ / ‘camaraderie’, ‘unity’, ‘autocracy / power’, ‘hierarchy’, ‘self-sacrifice’, ‘fearlessness / bravery’; the stereotype image «deity / divine creation»: ‘pleasing in goodness’, ‘divine love’, ‘divine message’, ‘divine gift’, ‘Last Judgment’, ‘suffering of Christ’, ‘purity (of the soul)’, ‘chastity’, ‘faithfulness’, ‘righteousness’, ‘punishment (of sinners)’, ‘God’, ‘immortality’, ‘power’, ‘divine blessing’, ‘abundance’, ‘prosperity’, ‘intuition’; stereotype image «female person / goddess»: ‘mother’, ‘care (warmth)’, ‘woman’, ‘meekness’, ‘virtue’, ‘diligence’, ‘chastity’, ‘motherhood’, ‘matriarchy’, ‘primacy’, ‘offspring / fertility’; the stereotype image «wise creature»: ‘eloquence’, ‘prudence’, ‘wisdom’, ‘morality’, ‘mathematical thinking / mind’, ‘expediency’, ‘(life) experience / knowledge’, ‘temptation’ / ‘self-control’. Symbolic signs reflect the idea of understanding God as the supreme being and mainly appeal to the anthropomorphic moral sphere. The time span of the illustrative material (from Ancient Russia to Modern times) testifies to the archetypality, temporal relevance and dynamic invariance of the highlighted stereotypical images of concept of bee in the linguistic consciousness of native Russian speakers and in the Russian language picture of the world. This demonstrates both ethnic and socio-cultural affiliation and kinship in the innate and instinctive perception of the being structure between human race representatives and the animal world.

“Asiatic Black Man”: W. E. B. Du Bois and Langston Hughes in Soviet Asia--Part I—The Shifting “Double-consciousness” of Du Bois

Abstract This essay seeks to revisit the curious case of the “Asiatic Black Man” by demonstrating how this identity, inherent in the collective unconsciousness and shared by Muhammad Ali, W. E. B. Du Bois, Langston Hughes, and Paul Robeson, could be consolidated as an “imagined community” through the microhistory of African Americans experiencing Soviet Asia. The essay proposes Afro-American Eurasianism as a transcontinental approach to converge the transnational, transatlantic, and transpacific perspectives in the Eurasian landmass, wherein the consilience of the Soviet overarching ambition of becoming the only world power as well as various themes that connected the micro-narrative of African Americans with the big history1 of Asia rendered Eurasianism as a shared political ideology, to be exploited by each side as a grand strategy in ending global racial politics. By positioning the twin cases of Du Bois and Hughes, this paper aims to show how the Soviet Union’s divergent endeavors of the “world revolution”—with Hungary and China as their primary targets for exporting revolutions in order to control the Eurasian “heartland”—and “socialism in one country”—with Uzbekistan and Turkmenistan as the in-the-making products of the Soviet nation-building experiments so as to convey the raceless image of Potemkin villages through Central Asia’s window to the world—could draw them away from their initial embrace of Black nationalism and shape their radical thoughts toward the Soviet cause. Moreover, this study posits that Soviet Asia functioned as a psychogeographical and geopolitical conduit that facilitated the elaboration of the Afro-American “Asiatic Black Man” fantasy and imagination of the communistic utopia as an alternative international order, while it unexpectedly resulted in a new “double-consciousness,” compelling Du Bois and Hughes to oscillate between Moscow and Beijing/Tashkent. (YZ)

Meaning Reconstruction in Fairy Tales Across Eras: An Intertextual Study on A Grain of Truth and Beauty and the Beast

Intertextuality is a study that observes the relation and connection that text has with other texts. By looking at intertextuality, it can be seen how one text can have resemblances to another text, whether that resemblance is intentional or not. This study uses a story by Andrzej Sapkowski, titled A Grain of Truth as the material objects of the study. It tells the story of a cursed human with a monstrous body who desires to find love to be human again. This research uses qualitative research methods, and the data were analyzed using intertextuality theory to answer the research questions. This paper aims at finding out the intertextuality connection between A Grain of Truth and Beauty and the Beast, through their resemblances in theme and due to the sociocultural enironment erround the stories. The result shows that there are sesemplances in terms of theme, characterization, and symbols in the story. This is related to the collective unconsciousness about the perception of love and curse in fantasy.

Tapping on Collective National Trauma

Tapping on Collective National Trauma

Dream and Archetype: The Perpetuation of Rituals and Myth Enacted in Sparsha

Myths, rituals, and dreams have been common traits of human beings; the underlying structure that underpins the interconnection between them and their inexplicable meanings coherently conjoined within has been a part of investigation. Accordingly, this paper analyzes dreams and archetypes for the formation of rituals in Nabin Chauhan-directed short movie Sparsha in the light of Carl Gustav Jung’s notion of ‘archetype’ and ‘collective unconsciousness’ and Joseph Campbell's understanding of myth. Sparsha presents a contestatory story of father and son because of divergent opinions regarding performing rituals. However, Aarohang, the son, ultimately observes rituals reconciling the discrepancies and difficulties. Against this backdrop, this paper argues that archetype necessitates performing a recursive pattern of behavior that becomes a ritual of a particular group of people, which is an enactment of a myth. In other words, Sparsha represents the conglomeration of archetypes and myths that unconsciously function in dreams, paving the way for observing the myths in the form of rituals. The paper discloses ritual has a long psychological trial deeply rooted in human instinct, conditioned by unconscious force and dream manifestation, and grilled by mythological narratives. This connection is the primary source that fuels the mechanism that perpetuates the domain of rituals thereby clinging to mythology.

AN ANALYSIS OF THE MYTHICAL PATTERNS IN ULYSSES FROM THE PERSPECTIVE OF ARCHETYPE THEORY

As one of the important creative themes of modern literature, mythology is constantly reiterated in the writings of modern writers. Through retelling, we can travel through the time tunnel and feel the poetic wisdom of our ancestors. The inherent characteristic of myth is symbolism, and at the same time, it has strong metaphor and inclusiveness, which has opened up an almost infinite space of meaning for modern writers. Mythology provides rich prototype resources for the plot structure framework of narrative works, and expresses the writer's unique creative perspective and aesthetic awareness. James Joyce was an outstanding modern novelist in the West in the 20th century, and he created unique mythological novels. Ulysses adopts the mythological prototype structure and uses the theme of the ancient hero Odysseus returning home, echoing the deep meaning of modern people's search for a spiritual home. This paper uses the theory of myth-prototype criticism and combines the theory of collective unconsciousness to explore the creation mode of Ulysses from the perspective of mythic archetype criticism, to explain how ancient myths and modern writers have a spiritual fit, and to further feel the uniqueness of Joyce's novels. Some artistic charm and the practical significance brought by Ulysses. Our era needs the spirit of exploration and courage left over from the early days of human society, and the connotation of archetypal criticism has positive ideological value to this day.

OPPORTUNISTIC DEXTERITY OR FLEXIBLE INTELLIGENCE?: CONTEMPLATING THE NATURE OF AMBIVALENCE INTRINSIC TO TRICKSTER ARCHETYPE FIGURES IN TRIBAL FOLKTALES OF JHARKHAND

Trickster figures are absolutely universal and they are creations of human collective unconsciousness. And advantageously as well disadvantageously they are not defined (confined) by any single characteristics as they are multifaceted entities, multiform beings and polytropos, with the accumulation of different qualities/features (such as ‘astuteness’, ‘ambivalence’, ‘wit’, ‘clever’, ‘cunning’, ‘tricky’, ‘creative falsehood’, ‘deceitful’ or ‘camouflage’, ‘clown’, ‘coward’, ‘cheat’, ‘humorous’, ‘brave’, etc.) and different forms (gods, demons, humans, animals), depending on the nature and requirement of the narrative programmes. Apart from being the fictional archfigures found in world mythology, folkloric materials and popular culture, the everyday social life of people is filled with the experiences of real tricksters, socially recognized antics of persons who enjoy mixed attributes of cleverness (i.e., good and bad), complementary to the logical rationality and being part of the periphery of their communities and not outside of the communities. Unlike mythological tricksters who are gods, demons, spirits and other supernatural beings, some of them are even known for having voracious appetites for food and bodily pleasure apart from being shape-shifters, rebellious and supreme boundary-crossers, their counterparts in folktales are simple, comprehensible, deliberate violators of social rules and norms, and cultural as well natural. A vast amount of trickster folktales is available in almost all languages across India. However, this study picks a few folktales from the tribal communities of Jharkhand, and the ‘tribal folktales’ is used as a category, a unit for analysis or a semiosphere to investigate the nature and interconnectedness of various elements associated with the trickster folktales. Grouped under four themes based on the actions of the protagonists or antagonists, this study proceeds to construct the nature and availability of oxymoronic figures as fundamental interdependent elements of these tales. This study reveals that the tribal tales have effectively utilized trickster characters to project the concept of altruism, along with the reflection of local culture and their critical interventions. It also highlights the facts that the trickster figures in these tales bring together two opposite worlds for different purposes through border-crossing which is a common phenomenon as far as the tribal trickster folktales are concerned, and it also reflects their worldview of coexistence attitude and perceiving them as an integral part of the ecosystem. Further, this study implies an essential point that the tricksters found in these tribal folktales perform as semiotic generators who mediate between opposites to allow a kind of cultural articulation of different cultural relationships, evaluate their contradictions and renew their moral and ethical values which are essential for the constitution and dissemination of their behaviour. Finally, this study promises to draw a brief sketch of the nature of tricksters and their social function and also unfolds the reason for the speculation that the tricksters are not enjoying heroic admiration and esteem despite their marvellous and altruistic heroic deeds.

Comparative Study Balance of The Heart ibn Qayyum Al-Jawziyyah with Collective Unconsciousness the Collective Unconscious Carl Gustav Jung

The purpose of writing in this study is to describe the concepts presented by Ibn Qoyyum and Carl Jung about human perfection and tranquillity. the research is a qualitative study with a library research method. Ibn Qayyum explains that the health and safety of the soul is born if a person is able to balance the inner dimension and the physical dimension. while Carl Jung argues that a person's disconnection from collective unconsciousness can cause a person to spiritual dryness, existential dryness, and soul shock.

Shen Congwen's objectified writing of female characters in romance novels

As a representative of modern Chinese literature, Shen Congwen's works have the brilliance of pure and simple human nature. Shen Congwen's works are mostly written during the "rising period" of China's feminist movement, and through his works, we can glimpse the thinking and consideration of female images and even gender relations by literary representatives at that time. As a representative of an important literary field in an important period of the alternation of old and new ideas, Shen Congwen portrays a female image with a certain modern significance based on the traditional male-centric perspective, showing the harmony of human nature, while revealing the specific form of male ideology ignoring female subjectivity and the specific form of male power to female otherization - objectification. Through Shen Congwen's romance novel's objectification of female characters, readers can have a more comprehensive understanding of the social thought and collective unconsciousness of that period, which provides a certain reference for women to resist the otherization of women by patriarchy and get further obtain gender equality. This paper re-examines Shen Congwen's works from a female perspective, aiming to expose that "male power objectifying women" has become the collective unconsciousness of the whole society and has evolved into an important link in social value standards, and improve society's sensitivity to the hegemonic behavior of "objectification".

몽골 구전설화에 나타난 ‘수중 이계 여행’과 ‘물고기 색시’ 모티프의 상징적 의미 고찰

Folktales have long been transmitted, embodying the life issues and wishes of people in interesting symbols and reflecting the fundamental collective unconsciousness of the human mind. This study set out to investigate the inner world of the main character’s ego and examine his journey of finding his “self” deep in his unconsciousness in The Young Man, The Dreamer, which is a folktale whose storytelling unit is a dream. There is a young man made by the king to dream a dream for the king’s greater desire. One night, he dreams of becoming a king himself and is banished to a distant sea, where he saves a fish, travels a different world at the underwater palace of the Dragon King, and takes the fish as his wife, thus realizing his dream of becoming a king himself. Here, the man on a white horse that brings the young man to the underwater palace represents the inner “spirit”(Geist) of the main character that guides him. The underwater world represents his unconsciousness. The fish lady, who is the yellow dog brought from the underwater world, represents “anima,” which is the female character of his unconsciousness. The Dragon King at the underwater palace represents the archetypical image of his “self”. The king that puts the young man in hardship represents the “negative father image” inside the main character. Taboos or prohibited matters in this kind of tales have an attribute of being broken, which expands an event and prolongs time for the main character’s maturity while training the inside of the main character and assisting him with his complete self-growth. The narrative of this folktale shows the process of the dreaming young man living in a deficient mundane world opening up his unconsciousness through dreams and seas and tells a story of finding his anima and exploring his “self” as the transcendent center of his spirit.

WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS

This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.

A Social Background of Turkish Culture and a Mythical View of Orhan Pamuk’s The Red-Haired Woman

This paper aims to bring the concept of ‘Myth’ and the historical view of Orhan Pamuk's The Red-Haired Woman. This research is based on ‘New Historicism’ and given prominence to textual aspects. For two decades, readers have been inspired not only by the distant past in symbols but also by colors hardly seen in previous texts. It could not be a surprise to learn that the themes of his The Red-Haired Woman are repression and amnesia. The researcher has tried to focus on ‘collective unconsciousness’ through the protagonist’s mythical background. This fiction gives a daring approach to reading canonical works such as Oedipus Rex, Rostam and Sohrab, and its discussion of patricide and paternal filicide, i.e., re-reading the myth to uncover the hidden fact behind the historical text through historical aspects. Furthermore, in the novel The Red-Haired Woman many archetypal images are discussed as history served as torch for this research paper.

Ming Yun (Destiny) by Cai Chongda

Reviewed by: Ming Yun (Destiny) by Cai Chongda Guo Jie CAI CHONGDA Ming Yun (Destiny) Hangzhou. Zhejiang Literature and Art Publishing House. 2022. 380 pages. MING YUN (DESTINY) is a novel that follows Cai Chongda's Pi Nang (Vessel: A Memoir), which familiarizes readers with Atai, who is also the protagonist of Destiny. Based on the life experience of this extraordinary woman, Destiny makes use of the ninetynine-year-old Atai's memories to connect the life stories, life choices, and vicissitudes of the times to several generations of people in coastal towns in southern Fujian Province in China. The construction of "home" in Destiny is particularly touching. At the age of fifteen, Atai is predicted to die without children and grandchildren. To rewrite her destiny, she makes all the efforts that a woman could undertake, including getting married, trying to give birth to a child, adopting children, fighting against a difficult and impermanent life, and writing her own life into a "symphony of destiny." After her original hope fails, three homeless children from all over the world adopted by Atai help establish "home" another way. This kind of strong tie, not based on blood relationship, breaks the traditional definition of "home." Compared with the destiny hanging over everyone, home, as an undercurrent hidden under the text, gives people the courage to look ahead and the confidence to face destiny calmly. Most of the gods in southern Fujian were originally humanized. When an individual bears great suffering, he/she can be regarded as a god. This book is characterized by a secular writing of the gods. The gods are not mysterious masters of fate but are endowed with human characteristics, who love beauty, bicker, fight in chaos, and part in reluctance. The temples where the gods are located are not places of pilgrimage but warm daily spaces, highlighting the close position of the gods in people's hearts: they hide in every individual's heart as a belief and even precipitate into a collective unconsciousness. The gods are both the patrons and accompaniers of mankind. Atai not only worships the gods, asks them for help, but also dares to quarrel with them. This kind of goodwill and unyielding spirit support the unique philosophy of survival in South Fujian—to rise from impermanence. When the story of Atai comes to an end, death becomes her close, old friend. She finally becomes the mother of her own destiny. When the old woman who has waded across the river of destiny smiles to readers so warmly, she must have a lot of tenacity in her life. Perhaps exploration, confrontation, and reconciliation in tenacity are an important part of destiny. Guo Jie Nanjing Normal University Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma

Understanding the Evolutions of Iranian Women’s Identity

The living and social nature of women has always been questioned by traditional and modern political systems, forces and social currents, from both religious and secular sides. To explain this subject methodically, the problem of research can be made more comprehensible by formulating the concept of "Living Shi’ism", which is considered as a manifestation of collective unconsciousness and the context of political and social action. The main question of the article is what the role, weight and influence of Living Shi’ism ideas are in the processes of shaping women's political and social behaviors in contemporary Iranian history? Living Shi’ism in Iran is not entirely Shiite, but it borrowed concepts and received influences as a result of interaction and intellectual contact with intellectual currents and ideologies. Findings showed the process of political and social identification of Iranian women is influenced by a set of thinking styles and patterns based on Shiite teachings or alienation and borrowing from new intellectual currents making any socio-political status conditional on their acceptance and reform. Patterns such as modern Iranian woman, Shiite autocratic woman, left feminist woman, armed Mujahid woman, housewife with hijab, Religious Modern woman and the emergence of dual hijab /veil and woman with hijab /chaste woman are examples of empathy or women's encounter with Living Shi’ism in different periods of Iranian contemporary history. Hence social structures such as unveiling, forced hijab, the transformation of hijab from a religious to political matter, and the formation of foregoing currents are not sudden, but a gradual process of women's biological interaction with Iranian society.

Modern Man's Conflict with His Collective Unconscious: A Psychoanalytical Study of Ford Madox Ford's Characters in The Good Soldier

With its publication in 1915, Ford Madox Ford’s novel The Good Soldier (2002) unveils several layered visions of shifting attitudes of the modern era. It bears deep and intriguing commentary on the social and psychological situations during the period of transition when the world was heading toward the First World War. This article aims to undertake a study of this novel in terms of how it brings forth modern man’s psychological conflicts by effectively revealing the stark contrast between the characters’ social appearance and their internal desires. It intends to investigate the workings of personality archetypes that Ford’s characters unintentionally adopt in this novel with an exclusive theoretical underpinning of Carl Jung’s Collective Unconscious and his Archetypes of personality. The study finds out how individuals suffer psychologically when society undergoes transitions and how it affects their social relationships. The purpose of this study is to highlight the fact that Ford’s characters are having unbalanced archetypes because of the deterioration and disillusionment prevailing in Pre-war modern society. It makes their personalities confused and to behave ambiguously and unconventionally, consequently causing their relationships to collapse and their lives to suffer.

On the Mythological Prototype of Bird in a Dream of Red Mansions

At present, there are abundant researches and writings on a Dream of Red Mansions. It is also common to study the mythological structure in it. However, the imagists pay little attention to the “bird”, which is rich in connotation, and there are few works to explain it from the perspective of archetypal criticism. This paper aims to enrich the mythological structure of A Dream of Red Mansions, using archetypal criticism and mythological criticism methods, to study the formation mechanism of the god bird worship in ancient China and its influence on the collective unconsciousness of Cao Xueqin, author of A Dream of Red Mansions, and through analyzing characters such as Hsi-feng, Pao-yu, Tai-yu, and Lady Dowager, this paper confirms the existence of the god-bird worship psychology, which believes that a large number of bird images in A Dream of Red Mansions are rooted in the consciousness of Chinese ancestors, and they have unique connotations at the same time.

Uzam ve Değerbilim

Bu çalışmanın konusu, uzamın dikey boyutu olan yukarı/aşağı karşıtlığının değerbilim açısından neler sunduğunun ortaya konmasıdır. Uzam, aralıksız bir şekilde insanları kuşatır ve insanlar tarafından çeşitli şekillerde kodlanır. Bu kodlamalardan biri toplumsal kodlamadır. Toplumsal kodlamalar, insanların bir bütün olarak şeylere anlam ve değer atfetme sürecidir. Uzam, toplumsal kodlamaların önemli parçalarındandır. İnsanlar, bilinçli ya da bilinçsiz olarak daima bir uzamla çevrelenmiştir. Kuşatıcı bir öge olan uzam, insanların yaşamında ve bilişsel süreçlerinde yalnızca bir dekor değil; bunun ötesinde anlamsal, işlevsel ve değerbilimsel açıdan önemli bir ögedir. Uzamın insanlarla olan girişik ilişkisi, zaman içinde insanların uzama birtakım değerler atfetmesine zemin hazırlamıştır. Bu çalışmada metaforik ve fenomenolojik incelemelerin verileri kapsamında insanların, uzamın dikey karşıtlığını değerbilim açısından nasıl yapılandırdığı sorgulanmıştır. Bunun için iki teoriden yararlanılmıştır: Birincisi, George Lakoff ve Mark Johnson’un ortaya attığı ve geleneksel metafor anlayışına aykırı bir yaklaşım olarak görülen kavramsal metafor teorisidir. Diğeri ise Gaston Bachelard’ın uzam-çözümleme olarak nitelediği ve uzamı incelerken yararlandığı fenomenolojidir. Kavramsal metafor teorisinin saptamalarına göre insanlar, genellikle uzamsal açıdan “yukarı”yı olumlarken “aşağı”yı olumsuzlamıştır. Diğer bir deyişle “yukarı” esenlikliyken “aşağı” esenliksizdir. Bachelard’ın görüşlerine göre evin çatı katı (yukarı) esenlikliyken mahzeni (aşağı) esenliksizdir yani bu kapsamda yukarı/aşağı karşıtlığı, kavramsal metafor teorisinin ve fenomenolojinin örtüştüğü bir değerbilimsel alan oluşturur. Genel bir sonuç olarak denebilir ki uzamın dikey karşıtlığı olan yukarı/aşağı karşıtlığı, esenlikli/esenliksiz karşıtlığıyla güçlü bir ilişkiye sahiptir. İnsanlar; “yukarı”ya esenlikli, “aşağı”ya ise esenliksiz değerler verme eğilimindedir. Yapılan incelemeler; sözlükbilimin yanı sıra Türk şiirinden örneklerle desteklenmiş, söz konusu değerbilimsel eğilimlerin geçerliliği söylemsel ve yazınsal örnekler üzerinde de ortaya konmuştur. Bu çalışmanın, kolektif bilinçdışı ve arketip incelemelerine bir perspektif sunacağı, yazınsal çözümlemelerin bu incelemelerin verilerinden yararlanabileceği düşünülmektedir.

Uzam ve değerbilim

Bu çalışmanın konusu, uzamın dikey boyutu olan yukarı/aşağı karşıtlığının değerbilim açısından neler sunduğunun ortaya konmasıdır. Uzam, aralıksız bir şekilde insanları kuşatır ve insanlar tarafından çeşitli şekillerde kodlanır. Bu kodlamalardan biri toplumsal kodlamadır. Toplumsal kodlamalar, insanların bir bütün olarak şeylere anlam ve değer atfetme sürecidir. Uzam, toplumsal kodlamaların önemli parçalarındandır. İnsanlar, bilinçli ya da bilinçsiz olarak daima bir uzamla çevrelenmiştir. Kuşatıcı bir öge olan uzam, insanların yaşamında ve bilişsel süreçlerinde yalnızca bir dekor değil; bunun ötesinde anlamsal, işlevsel ve değerbilimsel açıdan önemli bir ögedir. Uzamın insanlarla olan girişik ilişkisi, zaman içinde insanların uzama birtakım değerler atfetmesine zemin hazırlamıştır. Bu çalışmada metaforik ve fenomenolojik incelemelerin verileri kapsamında insanların, uzamın dikey karşıtlığını değerbilim açısından nasıl yapılandırdığı sorgulanmıştır. Bunun için iki teoriden yararlanılmıştır: Birincisi, George Lakoff ve Mark Johnson’un ortaya attığı ve geleneksel metafor anlayışına aykırı bir yaklaşım olarak görülen kavramsal metafor teorisidir. Diğeri ise Gaston Bachelard’ın uzam-çözümleme olarak nitelediği ve uzamı incelerken yararlandığı fenomenolojidir. Kavramsal metafor teorisinin saptamalarına göre insanlar, genellikle uzamsal açıdan “yukarı”yı olumlarken “aşağı”yı olumsuzlamıştır. Diğer bir deyişle “yukarı” esenlikliyken “aşağı” esenliksizdir. Bachelard’ın görüşlerine göre evin çatı katı (yukarı) esenlikliyken mahzeni (aşağı) esenliksizdir yani bu kapsamda yukarı/aşağı karşıtlığı, kavramsal metafor teorisinin ve fenomenolojinin örtüştüğü bir değerbilimsel alan oluşturur. Genel bir sonuç olarak denebilir ki uzamın dikey karşıtlığı olan yukarı/aşağı karşıtlığı, esenlikli/esenliksiz karşıtlığıyla güçlü bir ilişkiye sahiptir. İnsanlar; “yukarı”ya esenlikli, “aşağı”ya ise esenliksiz değerler verme eğilimindedir. Yapılan incelemeler; sözlükbilimin yanı sıra Türk şiirinden örneklerle desteklenmiş, söz konusu değerbilimsel eğilimlerin geçerliliği söylemsel ve yazınsal örnekler üzerinde de ortaya konmuştur. Bu çalışmanın, kolektif bilinçdışı ve arketip incelemelerine bir perspektif sunacağı, yazınsal çözümlemelerin bu incelemelerin verilerinden yararlanabileceği düşünülmektedir.