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  • Hi.

  • I'm Mike Rugnetta, this is Crashcourse Mythology and today we're going to lay mythology down

  • on this comfy little couch over here and listen to all its problems.

  • It's time to get all psychology on mythology.

  • We'll be examining the theories of both Sigmund Freud and Carl Jung, and discussing

  • the curious relationship the works of both men have to mythology.

  • So, Thoth, how do you feel about your mother?

  • OH, that's right - you created your self.

  • Or did you spring from Set's forehead?

  • Or was it Ra's heart?

  • ANYWAY - we're talking about Freud and Jung for two main reasons.

  • The first is that they used myths in their practice.

  • They relied on ancient stories to describe the contemporary psychological conditions

  • they observed and would often relate what their patients told them to mythological stories.

  • And the second is that we can use some of their theories to explore and analyze myth

  • itself, just like we applied Joseph Campbell's theories in our exploration of hero myths.

  • And let's not forget that Campbell's theories owe a lot to Jung.

  • [[[Thoth holding up a sign that says Forever Jung?]]]

  • Rod Stewart gag, huh?

  • You been hanging out with Stan too much, my dude.

  • INTRO Freud and Jung were contemporaries and the

  • two of them were hugely influential in establishing psychology and psychoanalysis in the 20th

  • century.

  • Freud started writing in the 1890s, and is generally considered the father of psychoanalysis,

  • which in turn, has influenced almost all of our pop culture representations of what psychology

  • or therapy or even THE MIND look like.

  • Freud and Jung both believed that our dreams -- the stories our minds create without our

  • active input -- were keys to understanding our waking selves and the problems we experienced.

  • For a lot of his career, Freud thought that most of our problems had a single root: The

  • Oedipus.

  • You've probably heard the phraseoedipal complex.”

  • This is a classic, and well known, example of how Freud was influenced by mythology.

  • He used the Greek myth of Oedipus to help illustrate a particular theory he had about

  • why so many rich 19th-century Viennese people were so neurotic.

  • We've covered the myth in Crash Course Literature, but basically: Oedipus is a Greek prince who's

  • the subject of a prophecy which says one day he will kill his father and marry his mother.

  • He does everything he can to avoid this, only years later, to sort of accidentally kill

  • his father, the king Laius, and sort of accidentally marry his mother, the queen Jocasta.

  • And less accidentally sort of have a bunch of incest kids.

  • Freud borrowed Oedipus' name to help explain his theory that young boys have a natural

  • desire to replace their fathers and bed their mothers.

  • Freud argued that so many other hang-ups and emotions derive from thiscomplex.”

  • Now, maybe you're thinking: I don't want to sleep with my mother, or, I'm not a boy,

  • so how does this apply to me?

  • And you would be right to have those questions.

  • There are definitelyassumptions in some of Freud's theories.

  • But like it or not, those theories have shaped and influenced huge swaths of twentieth century

  • western culture.

  • And we haven't even talked about his theory of penis envy.

  • And--ooh, look at the time, better keep moving.

  • Carl Gustav Jung was, at one time, Freud's friend and collaborator.

  • And like Freud, Jung is a towering figure in the history of psychology.

  • One of his best-known techniques was a way of analyzing dreams.

  • Jung believed that dreams could be understood througharchetypes.”

  • He defined archetypes as those figures or concepts that occur across cultures and history,

  • shared, in essence amongst all people.

  • There are as many archetypes as there are typical situations in life,” he once wrote.

  • Jung believed Archetypes helped us understand the world, and explain not only our dreams,

  • but also the common aspects of dreams among many people.

  • According to Jung, human beings everywhere are born with the ability to draw archetypes

  • from a sort of super-psychic aether, and form them into an individually useful language

  • of storytelling and meaning.

  • This aether is known as thecollective unconscious,” and is one potential explanation

  • for why there are so many commonalities in myths throughout the world.

  • Jung thought archetypes, in dreams and stories alike, were one key to better understanding

  • our own lives.

  • If Jung used archetypes as a way to analyze dreams, he drew on myths depicted in stories

  • and art to figure out what those archetypes were.

  • Stories of heroes and witches and tricksters and maidens help inform the archetypes that

  • Jung established, which he in turn used to explore the psychology of his patients.

  • He considered a person's psyche to be an individual manifestation of elements taken

  • from the collective unconscious, elements also often found in myth.

  • By taking ideas from different myths, and using their widely accepted meaning to look

  • analytically at our dreams, we can better understand our own psyche.

  • And if we want to, we can also plug some of Jung's ideas back into myths to better understand

  • how they work.

  • Jung discussed a lot of archetypes, but we're going to focus on three big ones he thought

  • were part of every individual.

  • If an individual, or a hero of myth, can integrate them all successfully it means a fusion between

  • the conscious mind, the personal unconscious AND the collective unconscious.

  • That means--wait for it--an integrated self!

  • Got it?

  • And hey, fun bonus fact: this individuation isn't necessarily an end state; people can

  • go through it numerous times.

  • The three archetypes we're looking at are the shadow, anima/animus, and the self.

  • The shadow is a part of our unconscious mind and represents all the parts of a person they

  • don't like to acknowledge.

  • This includes less socially acceptable emotions like rage or sexual desire or survival instincts.[1]

  • Think of it as your hidden side.

  • Sort of like a reverse image of your conscious self.

  • In dreams and myths, though, the shadow is always the same gender as the protagonist

  • or dreamer.

  • And yeah, Jung has a tendency to break things down along gender lines and make a lot of

  • assumptions based on those.

  • Today this can feel anachronistic.

  • And pretty patriarchal.

  • Something to keep in mind while we learn about it.

  • Next, the anima or animus: archetypes that likewise comprise an aspect of the protagonist's

  • self in their unconscious mind.

  • Women have an animus, which represents their male side while men have an anima representing

  • their female side.

  • Both are aspects of the collective unconsciousavatars for gender essentialism, kind of.

  • Jung didn't consider them artifacts of our specific relationships with family members

  • of the opposite sex though, which CAN have an impact on us, but in a different way.

  • The anima and -mus, rather, represent a sort of negation more even deeply held than what

  • is represented by our SHADOW.

  • For men, their anima personifies theirfemininecharacteristics like moodiness, intuition,

  • and irrationality.

  • YEESH - because obviously men are never irrational or moody.

  • For women, the animus representsmalequalities like aggression, ferocity, risk-taking,

  • and according to one scholar of Jung, “silent, obstinate, evil ideas.”[2] Though, the animus,

  • they say, can also help women take action, speak out and find wisdom.

  • Because ladiesneed a lot of help with that kind of thing, right?

  • ALSO YEESH.

  • The last archetype is the Self.

  • Not like, your actual self, but a character that represents a total and timeless unification

  • of your conscious and unconscious parts.

  • So sort of a superego, but also your link to the collective unconscious, too.

  • The Self does a lot of work.

  • The Self will once again be the same gender as the, uh, self?

  • Typically, it's a wise old man, sometimes called a senex, for men.

  • And for women, a crone, although that term isn't as judgy as it sounds.

  • Having integrated our primitive self, represented by the shadow, and our emotional opposite,

  • represented by the anima or animus, we have gained a greater awareness of ourselves and

  • of our participation in the collective unconscious.

  • The integration and awareness that the Self represents is the point of the journey, whether

  • it's a mythical journey or a psychological one.

  • Once the herohaving passed all their psychic trialscan accept and acknowledge the archetype

  • of the self, he or she has gained a kind of maturity.

  • And the same could be true for each of us in the journey of our own lives.

  • Jungian archetypes can seem [DRAMATIC PAUSE] abstract.

  • To make them feel more concrete, let's use them to retell a contemporary myth almost

  • all of us know: Star Wars!

  • Take it away, Thoughtbubble.

  • A long time ago, in a galaxy far, far away lived a young dreamer named Luke Skywalker.

  • He begins his process of individuation in total boredom on a desolate planet devoid

  • of meaning.

  • Then, into his life comes a Shadow, with an awesome black cloak: Darth Vader.

  • Powerful and cruel, Darth Vader could be seen as representing the harsher, angrier, more

  • animalistic emotions that Luke will not let himself express.

  • Not long after, Luke meets another Shadow in a dangerous bar.

  • This Shadow, named Han, is cocky where Luke is unassuming, skilled at fighting where Luke

  • is a novice, and above all worldly, where Luke is naïve.

  • Luke and Han don't get along at first; in fact Luke finds many aspects of Han unpleasant,

  • especially his selfishness.

  • But eventually the two come to respect each other, mainly once Luke acknowledges his own

  • aggression and learns to control it.

  • Soon Luke finds his Anima in the form of a powerful princess with rad hair.

  • Initially, Princess Leia is an object of sexual desire for the young man.

  • But she's also a guide, providing Luke with the motivation to leave his home.

  • And she leads him to his Senex: Obi Wan Kenobi.

  • Obi Wan helps Luke reconcile with his Anima, establishing a loving relationship with her.

  • Later, an even more powerful Senex, Yoda, the small green Jedi Master with odd sentence

  • structure, he meets.

  • Both Senexes, teach Luke the ways of the Force, an elemental power that pervades all places

  • and all things.

  • Once Luke can acknowledge the shadow as a hidden part of himself, accept the anima as

  • his opposite self, and accept the wisdom of the Senex in forming his Self self, only then

  • does he achieve maturation - by becoming a JEDI.

  • Thanks Thoughtbubble.

  • Who knew Jung was so applicable to outer space?

  • Well, George Lucas did.

  • Because as we mentioned in our first episode on the hero myth, Jung was a big influence

  • on Joseph Campbell who was a huge influence on George Lucas.

  • Obviously the Star Wars movies are famous for lots of reasons, but maybe we can attribute

  • some of their success to their ability to tap into something we all share - something

  • in the collective unconscious.

  • In Luke Skywalker's transformation from a whiny little boy to a confident Jedi, maybe

  • we're able to recognize our own experience of growing up.

  • Though with more robots.

  • Probably.

  • They're not always perfect, but if we use Jung's tools as a starting place to analyze

  • myths, and other popular stories, we can start to see some of the deep structures that run

  • from one to the next.

  • Maybe we can also start to understand why certain myths endure and why these are stories

  • we want to keep telling.

  • About our world.

  • About ourselves.

  • About our droids.

  • Next time we wrap up crash course mythology by taking a look at how the language of myth

  • has found its way into everyday speech!

  • Thanks for watching - see you then!

  • Crash Course Mythology is filmed in the Chad and Stacey Emigholz studio in Indianapolis,

  • IN, and is produced with the help of all these nice people.

  • Our animation team is Thought Café.

  • Crash Course exists thanks to the generous support of our patrons at Patreon.

  • Patreon is a voluntary subscription service where you can support the content you love

  • through a monthly donation, and help keep Crash Course free, for everyone, forever.

  • Thanks for watching, and sorry we are if Star Wars we spoiled.

  • ________________ [1] von Franz, quoted in Thury & Devinney

  • p. 621 [2] von Franz, quoted in Thury & Devinney

  • p. 624

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フロイト、ユング、ルーク・スカイウォーカー、そして神話の心理学:クラッシュ・コース 世界の神話#40 (Freud, Jung, Luke Skywalker, and the Psychology of Myth: Crash Course World Mythology #40)

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    Pei-Yi Lin に公開 2021 年 01 月 14 日
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