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Sample text

I have noted a semantic example of the general inconsistency which Hobson is describing in the use of the word ‘form’. Sometimes this refers to a specific image (the form the archetype has taken) and sometimes to the form of the archetype, its structure, as opposed to its content, the image. Hobson wonders if the feeling of strangeness and awe (numinosity) is really essential for an image to be recognisable as an archetypal image. He suggests that the feeling refers more to the experience and less to something in the image.

CW 8, para. 414) There is therefore an interdependence and neither instinct nor image has separate or primary existence in relation to the other. With regard to image the archetype is ‘upward-looking’, connected to ideas, creative inspiration and the spirit. With regard to instinct the archetype is ‘downward-looking’ to incorporation in biology and the drives. g. Jacobi, 1959, p. ) It follows that the student of archetypes can follow the downward path and explore the worlds of ethology and biology in the hope of constructing a scientific picture of what it is to be human.

She points out that there is a serious academic debate concerning ‘cultural diffusion or psychic unity’, and charges that Jung has accepted the latter too uncritically. , p. 119). Dry is unimpressed by any connection between the fantasies of children and babies and archetypal motifs. For example, considering a fantasy of attacking the mother and tearing out her insides, she wonders if there is any point in ‘invoking’ the collective unconscious in the shape of hero myths. She prefers to suggest that the myth is a secondary elaboration of the primary infantile experience.

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