Using Jungian and archetypal perspectives, this dissertation amplifies key symbols of the Self and the shadow within the three previously mentioned series in the interest of gleaning a richer understanding of the contemporary Western psyche-its tensions, its possibilities, and its needs for compensatory balance. More specifically, these series owe much of their power and appeal to their ability to draw from and weave together Christian, Gnostic, and medieval alchemical symbolism. The study also reveals a relevant historical connection between Jung and Salomon’s artwork.Ĭontemporary science fiction television series, such as Star Trek: The Next Generation, Star Trek: Voyager, and Babylon Five, fascinate viewers as expressions of popular culture precisely because they update in modern garb the Western attempt to grapple symbolically with the tension between consciousness and the unconscious. Findings demonstrate how creative work in the form of psychological investigation or as art can facilitate a reciprocal relationship with the unconscious as a means of psychological development and knowledge transmission. Employing Jungian, arts-based, and feminist perspectives through hermeneutical and transdisciplinary methods, it invites new perceptions to emerge by closely engaging with the images, voices, and insights evoked by these distinctive yet related artistic endeavors. To probe Jung’s perceived gap between art and nature, this study forms a conjunction between The Red Book and Charlotte Salomon’s multimedia artwork, Life? or Theater?. In the argument he declared that what he was doing was not art but nature. After he began his confrontation with the unconscious, but before he started work in the red leather-bound volume regarded as The Red Book: Liber Novus, C.
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