We Need an Amendment Outlawing Flag Desecration :: Argumentative Persuasive Argument Essays

We Need an Amendment Outlawing Flag Desecration In an attempt to make outrageous political statements, people often go to extremes: monks burn themselves to express freedom from religious intolerance, civilians stand in front of military tanks to stop them from destroying their city, and others burn or tear up flags to demonstrate their beliefs on issues from racism to war. Although flag desecration is the least violent of these three examples, it should be banned with an amendment because the flag is a symbol of freedom. Flag defilement is seen in many forms, such as- spitting on, tearing apart, or burning. During the 1960’s, a time of despair and revolution, flag vandalism proliferated. In effort to alter their lifestyle, Americans stampeded the streets ruining the symbol of freedom in the name of politics and racism. The violent array of insubordination created an immediate reaction. Each protest became more violent and ill mannered. Each time someone demolishes a flag, the act is not freedom of speech- it is an expression of an anti-American lifestyle. During the Vietnam War, activists ironically demolished the flag to bring back the men fighting overseas. The same men who were fighting for the freedoms of Americans and the symbol of America. These soldiers believed in America as a country and the flag as a badge of democracy and freedom so much, they risked their lives and almost 60,000 American soldiers died to preserve America’s freedoms. Those who have lost family members in a vicious battle will understand that it is not a sign of admiration to disgrace the icon for which these young men died to defend-- many between the ages of 17 to 24. In honor of those who may die for our country in the future, the Senate should pass an amendment outlawing flag desecration. As a daughter of an American soldier– who fought in both

Is College Worth The Effort? Essay -- Argumentative Persuasive Essays

Is College Worth The Effort? "College has been a total waste of your time and money!" Imagine telling that to a student who just finished four years of hard, grueling, expensive work; or, even worse, a parent who paid for their child to finish that same grueling work. But, in some ways, that statement can’t be any further from the truth. College can prepare a student for life in so many more ways than for a career. However, in the way that college is supposed to prepare soon-to-be-productive students, that statement could be right on. As a student myself, I’ve found college to be a little bit of both. I often find myself asking, "How will this help me later in life?" But, then again, college gives me more control over my life and where I want it to go. In trying to figure out what exactly made college like this, and whether the way I felt was felt by others as well, I interviewed an Anthropology teacher at Las Positas College, Mr. Toby Coles, and I examined an essay by Caroline Bird called College is a Waste of Time and Money. The two sources offered int eresting views from both side of the spectrum. While interviewing Mr. Coles, I found I tended to agree with him on several of his points. Mr. Coles summed up himself, and how I feel, quite simply: "College gives you options." Unlike high school, you’re not required to fulfill a certain number of units in one year. If you have other plans for your life, you can accommodate those while going to school. But, that applies not only while you’re in college, but also when you get out of college. "Life’s about choices," Mr. Coles continued, "it’s about having choices. You come to critical points in your life where decisions have to be made, hopefully you have some options...[... ...of the basic purposes of education: career preparation." I don’t agree with this at all. I think that college should really be a little of both. Obviously you go to college to get a degree, which starts you in a career, so that’s the career preparation part of it. But, there’s also so much more to college that helps you with later in life. Both views that Caroline Bird and Mr. Toby Coles had on what college does for a student are opposing, but both are interesting. I don’t feel that college has been a waste of my time or money. At least not yet. Works Cited Bird, Caroline. "College is a Waste of Time and Money." The Norton Reader: An Anthology of Expository Prose. 9th ed. Ed. Linda H. Peterson et. al. New York: W.W. Norton & Company, 1996. 481-490. Coles, Flournoy "Toby", Anthropology Teacher, Las Positas College. Personal Interview. 19 April, 1999

Essay --

ACKNOWLEDGEMENT First and foremost, I would like to thank to my supervisor of this project, Mdm Noraliza Azizan for the valuable guidance and advice. She inspired me greatly to work in this project. Her willingness to motivate me contributed tremendously to my project. I also would like to thank her for showing me some example that related to the topic of my project. Besides, I would like to thank the authority of Kolej Poly-Tech MARA Kuala Lumpur for providing me with a good environment and facilities to complete this project. Also, I would like to take this opportunity to thank for offering this subject, Advanced Network Management and Design. It gave me an opportunity to participate and learn about the networking environment. Finally, an honorable mention goes to my families and friends for their understandings and supports on completing this project. Without helps of the particular that mentioned above, I would face many difficulties while doing this 1. INTRODUCTION Wireless networking is a technology that uses radio waves to provide wireless high-speed Internet and ...

Achieving Individuation: A Jungian Archetypal Analysis Of ‘Snow White’ And ‘Cinderella’

Fairy tales are timeless stories. They are an integral part of human tradition. It arose thousands of years ago from a wide variety of tiny tales. They were widespread throughout the world and continue in our own day, though the older forms and contents have changed to reflect new realities. They were originally handed from one generation to the next by storytelling. The oral tradition of storytelling allowed each teller to make adaptations that pertained to current condition, or to add different morals depending on the audience.The most common fairy tales were not originally written for children. It is said that they were told by women, and were often more inventive and nastier, than the tales first put into print. As simple, imaginative oral tales that contained magical and miraculous elements, it was originally related to the then belief systems, values, rites and experiences of pagan people. Then it underwent numerous transformations. It shaped and was re-shaped by the interactio n of orality and print and other technological innovations like film, radio and so.Yet, every versions of fairy tale have deep, symbolic meanings that shed light in the culture that originated the tale. Also, there were lots of similarities in these tales. These similarities are those in the meaning conveyed, through certain archetypes (the recurrent patterns) in almost every story. In a nutshell, one can say that fairy tales changed with the cultural needs, demands and ideologies. The symbols and archetypes have remained virtually the same in all versions, though fairy tales changed over time to adapt to the society.LITERATURE REVIEWThere have been lots of studies and research on fairy tales. Perhaps, Jack Zipes is presently the most popular figure in the field of fairy tale studies. Jack Zipes, in ‘When Dreams Come True’, discusses the history of fairy tales, fairy tales from different countries, and the Grimm Brothers collections. Zipes focuses on â€Å"the role the literary fairy tale has assumed in the civilizing process by impairing values, norms and aesthetic tastes to children and adults. † Bruno Bettelheim, a child psychologist, looked at thepsychological meaning of fairy tales for children. In his book ‘The Uses of Enchantment’, Bettelheim explained the symbols found in the classic ‘snow white' story and interpreted the morals found in the fairy tale. He wrote the book to help the audience â€Å"to become fully aware of the importance of fairy tales. † N. J. Girardot discusses on myths and fairy tales in his article ‘Initiation and Meaning in the Tale of Snow White’. He shows the underlying structure of the tale of Snow White and relates it to different phases of a girl’s maturation.METHODOLOGYThis project will look at the archetypes found in various versions of fairy tales- literary and digital. Different sources are used to gather the various versions of popular fairy tales, especial ly ‘Snow White' and ‘Cinderella'. Concentrating on the archetypes, the paper will explore on how the theory of collective unconscious is related to fairy tales and how it works in the versions till date. Through an analysis, it intends to show that the theory of collective unconscious is valid for all literature of all time, with the archetypes in them.Recently, there have been lots of studies and research on fairy tales. Around the world, there is an enhanced interest in fairy tale studies, which has now become one of the most popular research topics in various large universities. This research, relating fairy tales and archetypes, is quite significant if we look into the modern or contemporary literature. Many of the modern fiction include fairy tale elements as well as archetypal elements in them. Thus, the relevance if this study of fairy tales and archetypes lies in almost every branch if literature.2. FAIRY TALES AND THE COLLECTIVE UNCONSCIOUSFairy tale is one of t he oldest literary genres. It is a genre of folk literature, representing mythology, folk wisdom, moral lessons and entertainment. They present the social norms of human behavior. Fairy tales are a type of short stories that typically feature such fairy tale characters, as elves, fairies, goblins, dwarfs, giants, trolls or gnomes, and often also magic and spells. However, only a small number of fairy tales refer to fairies. Fairy tales for kids may, nevertheless, be distinguishedfrom other types of folk narratives such as ballads and legends and explicitly moral tales, including beast fables. Fairy tales are common in oral as well as in literary form. The history of fairy tales is very difficult to trace accurately because only the literary forms can survive in a more or less exact original form. As the transmission of folk tales was particularly oral, many local variants of the tales appeared. Each of them reflected the social and cultural conditions of the story tellers and listen ers, and also their expectations and ideals.Such a variability and modification of the main storyline is one of the characteristics of the fairy tale genre. In certain parts of the world, in which cultures creatures such as demons, wizards and witches were perceived as real, fairy tales may have evolved into legends. Unlike legends and epics, however, fairy tales usually contain only superficial references to religious practices and actual places, events and people. They often take place â€Å"once upon a time† and not in actual specified time setting. Fairy tales fall into the basic genre of the oral folk literature.The term oral ‘folk lore’ represents various kinds of orally transmitted literature in the form of narration or verse. It includes folk wisdoms, sayings and proverbs, myths, legends and, fairy tales. Even if we know that many ancient texts similar to our fairy tales existed, the particular name â€Å"fairy tale† was first used by the French wr iter Madame d'Aulnoy, who named her stories â€Å"contes de fee†(a fairy tale) on the outset of eighteenth century. A fairy tale is said to be an epic narration that tells a simple, fictional story which may show a similarity with myth.There are various approaches to the classification of the fairy tale genre. Some are based on their motives, some on their similarities in storylines, characters, linguistic features and content. General classification of fairy tales is based on the similarity of storylines and differentiates into three main classes of tales:Magic fairy tales, which are characterized as stories with some occurrence of a magic thing or enchantment.Animal fairy tales, where Animals represent people and have human qualities.Legendary fairy tales, where biblical characters can appear.So, as per the above classification, both ‘Cinderella' and ‘Snow White' belong to the category of magic fairy tales. Fairy tales of various cultures show different features . They penetrate into other genres as myths or legends, and may accept features of fables, etc. Thus, the classification of fairy tales is broad and not so easy.2. 1. HISTORY OF FAIRY TALESa) Oral fairy tales A fairy tale represents very popular form of folk narration. Since it was handed from one generation to the next by storytelling, fairy tales changed a bit every time it was told.The teller modifies the storyline and characters to interest his audience. The modifications designed for specific audience are usual in the whole history of every narration. Such an adaptation of a story guarantees its further circulation because the story is kept current and interesting. Also, more plots and additional motives can be added and this will influence the consequent choice of characters. The early history of fairy tales and myths were handed down through generations in the oral tradition by peasants, story tellers, dancers, in feast around the festival fire, or by the various leaders.As t ribes wondered around or voyaged to other lands, their tales spread and were shared. Tribes intermarried and, eventually, women passed on what they had known. Although cultures were different, much was the same in the overall experience throughout the mortal world- life, death, love, joy, hate, strife, survival and the cycles of nature. They could all relate to each other's stories, having very similar themes. Through the centuries, tales, gradually, were tamed down, became more fanciful and noble so as to fit a modern, cultured society.The history of fairy tales, myths and legends dates back to ancient India, Persia, Egypt as well as some of the Greek and Roman mythology. Various versions of these legends and myths already existed in the old world of Europe and America. Eventually, they were written down and evolved into the so called fairy tales. It is impossible to separate out the changes and variations occurred to fairy tales, and follow their history. In other words, one canno t trace a fairy tale to the place or the culture of its origin certainly. Although a fairy tale can be recorded, in the moment of its record the narration becomes invariable.The oral transmission of tales does not stabilize by its recording, but the narration develops further. Thus, more and more variants of one fairy tale have been created. b) Literary fairy tales: Fairy tales were, originally, not written for children, but for adults. They were not suitable for children at all, in fact, with questionable content and much cruelty and violence. As they were passed down through the centuries, they have been rewritten for the younger generations. Orally transmitted stories attracted attention of collectors of folk production within Europe in the sixteenth century.The first European collectors of folk tales were the Italian authors Giovanni Francesco Straparola and G. Basile with collections of tales ‘The Facetious Nights' and ‘Neapolitan Tales'. Charles Perrault, a French collector of seventeenth century, collected common French folktales in ‘Mother Goose Tales’. Perrault's tales included ‘The Cinderella Story', ‘The Sleeping Beauty', ‘The Bluebeard', etc. He transcribed eleven fairy tales overall, most of which are very popular today. On the turn of the 18th and 19th century, the Brothers Grimm collected the German folktales.Their first work was published in 1812. It contained tales in more than ten German original dialects. Their first edition contained a record of a Cinderella story, which was told to them by a young French woman named Marie Hassentug. This fairy tale and some others were omitted in the second edition, because the Brothers Grimm considered them French and not originally German. Literary and language changes were also made in the second edition of the fairy tales in 1815 to make the tales more acceptable to the readers. Yet, both of these editions became an inspiration for the next collectors of folk tales.The name ‘fairy tales' came long before the time of Brothers Grimm. Madame d'Aulnoy of France was the first to use the term, introducing it to her friends at their parties. They were told to and meant for adults. She used the phrase ‘fairy tale' in French as ‘contes de fee', and had her writings published. The word ‘fee' referred to a woman of magic; ‘feerie' referred to illusion. As use of these words spread, they came to be known as ‘faerie' or ‘fairy' in English speaking countries. The term ‘fairy tales' first appeared in Oxford Dictionary in 1749.In the 18th century, the writings of Jean Marie Le Prince de Beaumont (also in France), became popular, especially since her stories were written more for children. She was one of the first to do so. Particularly wide spread was her ‘Beauty and the Beast'. Around the same time frame as the Brothers Grimm in the 19th century, Hans Christian Anderson was collecting and publishing his fairy tales in Denmark. He is known as the father of modern fairy tales. His stories such as ‘Thumbelina', ‘The Snow White', ‘The Little Mermaid', ‘The Ugly Duckling', spread far and wide.Again, they had a certain amount of conflict and sadness, very understandable to the common folk of the time. Many of the fairy tales were not about fairies. They included other creatures like trolls, goblins, elves, dwarfs, giants, gnomes, and also talking beasts such as dragons, unicorns, centaurs, and phoenix birds. There was somehow a knowing that the world beyond the veil was vast and rich, though no human eye ever saw it. So, all fairy tales happened â€Å"once upon a time† and not in actual specified setting.2. 2 ARCHETYPES AND THE COLLECTIVE UNCONSCIOUSA lot of modern theory on what makes a good story is based on the work of Carl. G. Jung and Joseph Campbell, both of whom were fascinated with mythology and religion. The great psychologist and philosopher, Carl Gustav Jung, influenced the mythological criticism greatly. He believed that there exists a â€Å"universal unconscious†. This idea indicates that every individual has access to â€Å"a shared set of images, called archetypes, common to all people†. The universal unconscious was expressed in art, literature and myth and Jungian literary criticism focused specifically on the analysis of archetypes in literature and written mythology.Much of the literary characters that we are most familiar with from legends, fairy tales and mythology are examples of what Jung would classify as archetypes. According to Jung’s notion of the psyche, the human mind can be divided into two- the conscious part and the unconscious part. The unconscious part of the mind covers all the life experience, knowledge, education and social training. It contains aspects of any skill acquired during the life. The skill is later brought into practice consciously, with the awareness of its re ason and consequence.The personal unconscious layer of the mind covers acquired life experience and behavior, of which reasons and origin cannot be easily identified. An example of unconscious experience is fear of a dog. The person is aware of his or her fear because of previous attack. If a dog attacks a small child, and it forgets it, the experience is suppressed and becomes a part of the unconscious. The child then feels uneasy with dogs for the rest of his life, without knowing the reason. Carl Jung believed that beneath these two layers of the conscious and the unconscious, there lies another layer which he called the â€Å"collective unconscious†.In developing his theory of racial memory and archetypes, Jung asserted that beneath the conscious and unconscious layers of mind â€Å"is a primeval, collective unconscious shared in the psychic inheritance of all members of the human family†. As Jung himself explains in ‘The Structure and Dynamics of the Psycheà ¢â‚¬â„¢, ‘If it were possible to personify the unconscious, we might think of it as a collective human being combining the characteristics of both the sexes, transcending youth and age, birth and death, and from having at its command a human experience of one or two million years, practically immortal.If such a being existed, it would be exalted over all temporal change; the present would mean neither more nor less to it than any year in the hundredth millennium before Christ; †¦it would have lived countless times over again the life of the individual, the family, the tribe, and the nation, and it would possess a living sense of the rhythm of growth, flowering and decay. ’(349-50) Thus, the collective unconscious covers the experience of whole humankind, acquired during millions of years of the human evolution. Jung described the content of the collective unconscious more explicitly.He claims that there are behavioral patterns (that are collective) in every human m ind. Just as certain instincts are inherited by the lower Animals (for example, the instinct of the baby chicken to run from a hawk’s Shadow), so more complex psychic predispositions are inherited by human beings. Jung says that â€Å"mind is not born as a ‘tabula-rasa’ [a clean slate]. Like the body, it has its pre-established individual definiteness; namely, forms of behavior. They become manifest in the ever-recurring patterns of psychic functions†.He refers to the manifestations as â€Å"archetypes† or â€Å"motifs† or â€Å"primordial images†. Thus, Jung presented the notion of an archetype- a symbolic demonstration of the collective behavioral patterns in every human mind. â€Å"These archetypes can be found only in the human’s unconscious and people consciously do not know that they follow a general pattern of behavior. (Jung) This theory suggests that all people have all the possible archetypes in the unconscious part o f the mind. The adequate archetype activates and controls our behavior according to various life situations.Jung detected an intimate relationship between dreams, myths and art in that all three serves as media through which archetypes become accessible to consciousness. In other words, myths are the means by which archetypes, essentially unconscious forms, become manifest and articulate to the conscious mind. The context of character, situation and places can provide a space for a particular archetype to occur. The universal unconscious was expressed in art, literature and myth, and Jungian literary criticism focused specifically on analysis of archetypes in literature and written mythology.A Jungian literary may simply evaluate the effectiveness as a particular archetype in a novel. While reading literature in Jungian literary criticism, the central character is viewed as real, while most other characters are seen as symbolic representations of aspects of the hero’s unconsc ious self. The characters all stand for parts of the protagonist’s unconscious desires or parts of the unconscious which the character has yet to access.2. 3 JUNG’S THEORY OF INDIVIDUATIONAccording to Carl Gustav Jung, the goal of all humans is to achieve a state where the unconscious is known and integrated into the conscious mind.In other words, the unconscious aim of all people is to become their own self. This process is called individuation. Individuation is the final stage of the human development that represents the union of the matured individual identity with one of the unconscious archetypes. It is a process that can take the whole life, but it can also be achieved through a particular life situation. Individuation is a reconciliation of a man with his real self, which has to be consciously accepted and requires extra courage and honesty.The theory of individuation is related to those archetypes designated as the ‘Shadow’, ‘Persona’ and the ‘Anima/Animus’. The Shadow, the Persona, and the Anima/ Animus are the structural components of the psyche that human beings have inherited. We encounter these archetypes throughout the myths and the literatures. Here, the Anima/Animus, the Shadow, and the Persona are projected, respectively, in the character of the heroine, the villain and the hero. The Shadow is the darker side of our conscious self, the inferior and less pleasing aspects of the Personality, which we wish to suppress.The most common variant of the archetype, when projected, is the Devil. In Jung’s words, the Devil represents the â€Å"dangerous aspect of the unrecognized dark half of the Personality†. Shadow contains all the negative tendencies the individual wishes to deny, including our Animal instincts, as well as our undeveloped positive and negative qualities. Its contents include those tendencies, desires and memories that are rejected by the individual and are contrary to the social standards and ideals. The Persona is the appearance we present to the world.It is the character we assume and that which we relate to others. The Persona includes our social roles, the kind of clothes we choose to wear and our individual styles of expressing ourselves. The term ‘Persona’ comes from the Latin, meaning â€Å"mask† or â€Å"false-face†, as in the mask worn by an actor on a stage through which he speaks. Jung, in discussing this social mask, explains that, to acheive psychological maturity, the individual must have a flexible, viable Persona that can be brought into harmonious relationship with the other components of his/her psychic make-up.He states, furthermore, that a Persona that is too artificial and rigid results in such symptoms of neurotic disturbance as irritability and melancholy. The Anima/Animus is perhaps the most complex of Jung’s archetypes. It is the complement of the Persona. The Anima and Animus are the unc onscious or true inner self of an individual, as opposed to the Persona or outer aspect of the personality. The Anima is for males and the Animus is for females. It can be identified as the totality of the unconscious feminine psychological qualities that a male possess; or the masculine psychological qualities possessed by the female.The Anima manifests itself by appearing as figures in dreams as well as by influencing a man’s interaction with women and his attitudes towards them, and vice-versa for females and the Animus. The Anima functions as the primary mediator between unconscious and conscious. It is oriented primarily towards inner process, just as the Persona is oriented to the outer. In this project, two of the most popular fairy tales have been selected- Cinderella and Snow White. Both the fairy tales will be analyzed and interpreted based on the Jungian psychology.Indicating that both the fairy tales are actually a psychological process, I will try to reveal the a rchetypes in the stories and show how Snow White and Cinderella goes through the process of individuation to achieve their true self. Also, by analyzing both fairy tales from this perspective, I will try to reveal the similarity of archetypes in these independently created fairy tales.3. ARCHETYPES IN ‘SNOW WHITE’‘Snow White’ is a magic fairy tale. It is the story in which a child is victimized by an adult. Adult anxieties and jealousies cause the adult in the story to act against the children, who are being the objects of adult jealousy.‘Snow White’ is a classic example of a fairy tale with many characteristic fairy tale elements. There are magical elements, a fictional setting, and characters with supernatural powers, a heroine, a happy ending and themes of adult anxieties. Snow White goes through changes from a girl to a woman by the end of the story. In almost every version of Snow White these elements exists. The most popular and current v ersion of ‘Snow White’ is Disney’s 1937 movie ‘Snow White and the Seven Dwarfs’. The Disney movie is very similar to the oldest known copy of the tale, the Grimm Brother’s 1857 version of ‘Little Snow White’.The Grimms collected the fairy tales that they printed from oral tales. The probable beginning of the story of Snow White exists in an oral tale. There are many other versions of ‘Snow White’, mostly found in Italy and all similar to the Grimm Brothers’ version. While some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each version was independently created. In other words, the story of Snow White can be found with little variations all over the world.So, it is a fairy tale which has a lot of meanings for many people and, like myth, continues to fascinate.3. 1 SNOW WHITE: A BRIEF HISTORYAlthough the most famous version of the tale today is Disney’s classic Animated film ‘Snow White and the Seven dwarfs’, it has existed in many versions in the centuries preceding Disney. The Grimm Brothers collected the tale from the two sisters- Jeannette and Amalie Hassenpflug- who lived in the town of Cassel. The tale was well-known before the Grimms’ collection however and appeared with little variation from Ireland to Asia Minor to Central Africa.The earliest version of the tale can be found in Giambattista Basile’s ‘Pentameron’. It is believed that Basile’s literary version influenced the versions which followed. Disney based his film on the Grimms’ version of the tale. Disney actually changed some aspects of the tale which had been edited out in the previous versions intended for children, especially the Queen’s demand that Snow White’s heart be delivered to her as proof of the child’s death. In 2012, a Hollywood film ‘Snow White and the Hunt sman’ based on this tale was released by the Universal Studio.3. 2 SNOW WHITE: AN ARCHETYPAL ANALYSISThe tale of Snow white is a very simple one but it still holds much for us that remains deeply buried within its simplicity. Perhaps it was ‘invented’ to show us something of ourselves and perhaps these simple stories are, as C. G. Jung considers myth to be, the ‘unconscious expressions of ourselves’. Like dreams, fairy tales including Snow White and Cinderella, appears to be a product of the human unconscious, that offer a vision that is complementary to the prevailing conscious view.But instead of a dream that functions from the individual psyche, the fairy tale seems to function from an entire culture. It is effectively a collective fantasy. As it is told and retold, elements of the story added by the individual teller fall away, while the more universal theme remain. So it becomes valid for the group of people in general. In this analysis of †˜Little Snow White’ (as recorded by the Grimm Brothers), I will assume that the whole story describes a state of immature feminine psyche. All the images in the story will be seen as aspects of a feminine.Based on Jungian literary criticism, the central character, Snow White, is viewed as real while the other characters (evil step-mother, the huntsman, the seven dwarfs, and the Prince) are seen as symbolic representations of the various aspects of the heroine’s unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The story starts out with a Queen sitting alone by a window in mid-winter. While sewing, a needle pricks her finger and three drops of blood falls on the white snow.Gazing at the drops of blood, the Queen wishes for a girl who is as white as snow, with black hair and cheeks as red as rose. The insistence on whiteness of the girl implies that darker, shadowy aspects are not wished for by the biolog ical mother. They are missing in her child, although the black of the hair hints at deep darkness. ‘Snow White’- the name alone sets the stage and the theme: the story will be about the heroine’s- or a female psyche’s- confrontation with and integration of Shadow aspects. The Queen’s reflection, Jung considers, is a masculine trait within the feminine.The Animus often uses the silent image to illustrate ‘a painter†¦or as a cinema-operator†¦or owner of a picture gallery†¦Ã¢â‚¬â„¢. Snow White’s mother ‘gazed thoughtfully’ on the image and places her future offspring into its structure by visualizing her future child’s attributes. We can find a pure feminine act of imagination as well as Jung’s ‘masculine trait’ of a mother imaging her daughter’s nature prior to birth. At the start of the story, Snow White or the female psyche is far from complete, as she is both innocent and im mature. Also, she lacks a caring mother figure within.In the first paragraph of the fairy tale, we read how the Queen died at the birth of her child and after her death, ‘†¦the king took another wife’. This is the only time when Snow White’s father is mentioned. He is an indolent father because he utterly fails to protect his child from the murderous hands of his new wife. The ‘absent one’ in a person’s life or the one that is least mentioned, the father, has an enormous contribution to the whole tale. Snow White starts out with an almost non-existent father figure or ‘Animus’ and at this stage the mother is dead.This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand up for her. ‘Doing nothing’ is the most expressive form of violence, because the very act of non-doing prevents its cure. Here, the king does not offer any guidance or suggestions on his daughter’s lif e. He does not even attempt to control the raging forces within her personified as the wicked step-mother. In other words, he does nothing against the opposite raging or the ‘Shadow’. Thus, the father is like a ‘weak Animus’ in the unconscious.The counter balance to the weak Animus is an inflated negative feminine ‘Shadow’ which is totally unconscious and seems to possess a peculiar wisdom of its own in the form of the evil stepmother Queen. As we explore through the story, there is a growth of the primal female in the form of wicked stepmother Queen. This dominant Shadow tries to dislodge the Ego- the center of consciousness and one of the major archetypes of the personality. The Ego provides a sense of consistency and direction in our lives.It tends to oppose whatever might threaten this fragile consistency of consciousness and tries to convince us that we must always consciously plan and analyze our experience. The Ego within Snow White is i nfantile in development and immense. Thus, it is not a surprise that the Shadow is trying to dislodge the Ego. Here, the stepmother Queen is like the Shadow archetype within the unconscious. In many fairy tales, there are two mother figures: one is totally and absolutely good while the other is just as unequivocally dark, sinister or evil.Our tale shows a split in the mother archetype in the feminine psyche. The wicked Queen is envious of Snow White because the young girl is becoming very beautiful, and, eventually, more beautiful than the Queen herself. Jealousy and envy between a mother and daughter are debatable topics in our society. Our understanding of motherhood heavily emphasizes a completely selfless, self-sacrificing mother. We label that as the ‘positive’ pole of the mother archetype. We simply cannot accept that a mother could possibly be envious and jealous of her daughter.Only a wicked stepmother is capable of such ‘unnatural impulses’. As sai d before, the Ego within Snow White is actually under-developed. The Ego began its own development when Snow White was seven years old. It was then we find terrors expressed by the stepmother Queen. This terror can also accommodate jealousy, a lack of love for the child within, which then becomes hateful and murderous that ‘†¦she would have been ready to tear her heart out of her body. ’ (Grimm) This is the first phase of Snow White’s life- from birth to pre-adolescence.During the first phase of her life, Snow White lives in her parental castle literally as well as psychologically. A threatening stepmother’s increasingly malevolent energy (suitable image for a powerful negative mother archetype) propels the heroine into the next phase- the transitional phase. During the transitional phase, the young girl is being prepared for her life as an adult, as a married Queen. In order for her to understand fully all aspects of life, she is â€Å"dropped† into the woods, at a distance of seven mountains away from the castle. She lives in a different, secret world.Now, the transitional stage involves the first glimmer of awareness on the part of Ego. It is considered a threat by the Shadow figure in her psyche- the wicked stepmother. So, the first state of male awareness emerges- the huntsman who will do no harm, but will not protect her either. This is a transit stage for Snow White as she finds herself wandering in the wilderness of the wood abandoned by adults. The Shadow within, the Queen, is out to destroy Snow White (the Shadow is trying to integrate into the Ego) and has hired the services of the huntsman as the killer.Thus enters the second male figure in the tale. The hunter is unable to kill Snow White, as he is taken by her beauty and innocent pleas, and instead tells her to run. (Grimm) It is suggested that the huntsman is an unconscious representation of the father since he is first taken by the Queen’s command a nd then succumbs to the child. Nevertheless, he is not as violent as the first in that he does do something and he refuses to harm her, but also fails to protect her, letting her go into unknown dangers in the woods. At least, he deceives the Shadow figure and takes back the heart of a deer as a pretense.The Ego at this stage is under the spell of unknown forces within and is restricted in freedom, ‘†¦being alienated from normal life’ (Jung) where she continues ‘hiding in the woods’ It is forced to run away from the normal life by the Shadow which is yet unknown. Snow White now wanders through the dark, deep forest and, finally, meets the seven dwarfs. This marks the beginning of the third phase in Snow White’s life. It is a more matured stage. Here, Snow White meets the common man- the seven dwarfs. N. J. Girardot calls this as the liminal period in his article ‘Initiation and Meaning in the Tale of Snow White’.In many tales the dw arfs are malevolent and destructive beings, but as in this case, they can also be the creative agents of growth and rebirth. Indeed, in this story, the dwarfs can be taken as the divine ancestors, teachers, refiners, guardians, or helpers necessary for a successful initiation. (Girardot, 290) Snow White stays with them and â€Å"keeps house† for the first time and thus, in a way, she starts to learn the lore of adult life that will be expected of her. The dwarfs teach her adult tasks, such as cleaning and cooking.They work all day and expect everyone to do so. Thus, Snow White enters a tentative agreement based on mutual help. The dwarfs warn her against the stepmother Queen. Girardot says that they are like protective agents in the passage of Snow White’s life. (Girardot, 291). The dwarfs are helpful and also a positive force. Carl Jung thought of the dwarfs as a representation of the natural wisdom. They are clarifications of teachers and foster parents. At this poin t, in her process of individuation, Snow White is introduced to the â€Å"masculine creative energy† (Buchholtz, 9).Her past understanding of the masculine was limited to an absentee father and an encounter with the huntsman. In other words, Snow White did not really have an encounter with the Animus yet. Now, she meets the Animus in the form of many which is ‘undifferentiated’. ‘The Animus also embodies helpful figure†¦Ã¢â‚¬â„¢ as the dwarfs proved to be, and thus starts the Ego’s road back to recovery (Jung). Here, the Animus is the helper who brings the Ego out of its forced, restricted life and, thus, Snow White is once again on her way to success, to achieve individuation.In this stage, the Shadow becomes aware of the budding Ego. Thus, it takes up a disguise. While she is living with the dwarfs, Snow White is tempted thrice by her stepmother who disguises herself as an old woman selling lace, comb and apples, respectively. â€Å"As the dw arfs might be said to represent the creative and positive dimensions of the chaotic condition, the stepmother now directly embodies the negative and destructive dimension of death and decay† (Girardot, 291). The life with the dwarfs has made Snow White more responsible and also free to be herself again.Thus, the Ego is not under any restrains and begins to develop. The Shadow, the negative aspect, is warned (by the mirror) against this development of the Ego. The stepmother first attempts to kill Snow White with poisoned laces (Grimm). Being tempted by the beautiful laces, Snow White lets her disguised stepmother into the dwarfs’ house. She is now an adolescent tempted by beauty and this temptation leads her to near death. The second time, Snow White is tempted by the comb which also results in her almost death.The dwarfs manage to save Snow White both the times, but could not save her the third time when she was tempted by the apples. Snow White fails to listen to the dwarfs thrice. Therefore, in the third phase, what we see is a conflict between the Ego and the Shadow. As said before, the Shadow is trying to somehow dislodge the Ego and, in the third attempt, it succeeds. Also, the Ego was actually succumbing to the negative energy of the Shadow. In this state, Sow White is unable to get in touch with her feelings. The split (between the Ego and the Shadow) within herself becomes evident.She is actually witnessing the hatred expressed by her own negative mother. Here, the Shadow is actually trying to overthrow the Ego and gain control over the female psyche. The Ego, here, is hiding herself and, thereby, grows slowly, making up for the lack of Animus in the psyche. For Snow White’s personal growth, her transcendence is dependent on the process of building up the inadequate masculine father through the help of the dwarfs. In a gist, we can say that in the third phase the Ego is more matured and is on its way to achieve individuation.It is frequently restrained by the Shadow within the unconscious. Nevertheless, it develops with the help of Animus which it lacked in the first two phases. The fourth and the final phase is when Snow White falls down almost dead and is, later, saved by the Prince. The dwarfs had found Snow White, who had eaten the poisonous apple, dead and they decide to place her in a glass coffin. Later, a Prince is given the coffin by the dwarfs who pity him. The Prince comes into her world only when Snow White is unconscious. Now the Ego is in a comatose stage which is a special kind of sleep.In this state, the Shadow stops to attack the Ego and does not try to control it. The Ego now has a chance to return to life and at the same time unite with the Animus (the Prince). Thus, in the tale, Snow White is married to the Prince. United in marriage, they return to put the villainous character, the Shadow, in her proper place. In the fourth phase, the Ego recognizes the Shadow, overthrows it and unites wi th the Animus, thereby, finding its true self. For the first time in the story, the wicked stepmother is ‘invited’ by the Ego. She joins in with what Snow White is doing.Here, the Shadow is recognized. This is the final process where the Shadow is invited by the Ego to integrate with it. Snow White had suffered so much in her life. She was robbed of her rights as a Princess; she was not allowed to live a normal life. Despite this, she does not show any sort of rage or grief. As Jung says, this can happen only when the Prince or the Animus has established itself in the feminine psyche. Thus the wicked Queen, who was invited to the wedding of Snow White and the Prince, was â€Å"forced to put on the red-hot shoes, and dance until she dropped down dead. † (Grimm).The wedding is taking place at the same time when the Shadow is defeated. This indicates the unifying of the feminine and the masculine, and also the death of the Shadow within the unconscious. The Ego unit es with the Animus, thereby, attaining the true self. The Ego is completely developed now. Therefore, the fourth phase is symbol of the completion of individuation.4. ARCHETYPES IN ‘CINDERELLA’‘Cinderella’ is one of the most popular stories in the world. Like almost every fairy tale, the true origin of the story is unknown. There are various versions of ‘Cinderella’, originated from various countries and cultures.Yet, the themes of the stories are similar in all versions. Every version of ‘Cinderella’ centers on a kind, young girl who is tortured and ill-treated by her own family, after her mother’s death. Her father is either absent or neglectful, depending on the version of the story. The girl is helped by someone to triumph over her family and achieve a wealthy marriage. Like ‘Snow White’, ‘Cinderella’ is also a magic fairy tale. It consists of many fairy tale elements. There are magical elements , opposing characters, a heroine, a happy ending and themes of adult anxieties. Cinderella goesthrough changes from a girl to a woman by the end of the story. In almost every version, these elements exist. Currently, the most popular version of ‘Cinderella’ is that of the Disney’s Film in 1950. This film is based on the version by the Grimm Brothers. They had collected their version of ‘Cinderella’ from oral tales. There are also many other versions of the tale found in many parts of the world. The Charles Perrault’s version is also quite famous. While some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each was independently created.Thus, born centuries ago, the fairy tale still continues to live and fascinate people.4. 1 ‘CINDERELLA’: A BRIEF HISTORYThe story of Cinderella had been around the world long before the Disney or Grimm version. It is said that there a re over a hundred versions of this fairy tale. The story was first recorded by Tuan Ch’eng-shih of China in the middle of the 19th century. Long before he recorded the tale in writing, the people of his day probably knew oral telling of it. In this version, however, Yeh-shin, the heroine, is helped by a magical fish, and not a fairy Godmother.In 1697, Charles Perrault recorded ‘Cinderella, or The Glass Slipper’ in his collection ‘Tales of Mother Goose. ’ This version included the fairy Godmother. Also, in the end, Cinderella finds husbands for her stepsisters. During the 19th century, the Grimm Brothers from Germany changed many elements in this tale and it was called ‘Aschenputtel’ or ‘Ash Girl’. In modern times, the tale of Cinderella has inspired countless picture books, musicals, novels, etc. It is the 12th animated feature film in the Disney Animated feature canon. It was released in 1950.4. 2 CINDERELLA: AN ARCHETYPAL INTERPRETATIONWe usually take the story of Cinderella, like other fairy tales, for the sole purpose of entertainment. But it is interesting to know that this is a wise story infused with different meanings and symbols. Perhaps, it shows something of us as Carl Jung considers myth to be ‘unconscious expression of ourselves’. As mentioned about ‘Snow White’, ‘Cinderella’, too, seems to be like a product of human unconscious and offers a vision that is quite opposed to the prevailing conscious view. In this analysis of ‘Cinderella’ (as recorded by Charles Perrault), I will assume that the whole storydescribes a state of immature feminine psyche. All the images in the story will be seen as aspects of a feminine. Based on Jungian literary criticism, the central character, Cinderella, is viewed as real while the other characters (stepmother, stepsister, father, fairy Godmother, the Prince, etc. ) are seen as symbolic representations of t he various aspects of the heroine’s unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The story begins by describing the background of the fairy tale.We come to know that after the death of the heroine’s mother, her father took in another wife who had a daughter. The stepmother and stepsister were â€Å"the proudest and the haughtiest that were ever seen† (Perrault, 1889). They did not like Cinderella, nor did they tolerate her good nature. The initial part of the story shows Cinderella’s way of life after her father’s death. The introduction presents obvious facts known to Cinderella. For her, this represents the conscious. The main contrast between the conscious and the unconscious is represented by the known and the unknown situations.By the death of the father, there is a threesome in the story- the stepmother, stepsister and Cinderella. This indicates an incomplete cycle. Only w hen we reach number four will the cycle be complete. Cinderella, the stepmother, the stepsister and, eventually, the Prince is one example of a quaternary. At the start of the story, Cinderella or the female psyche is far from complete. She is very innocent, naive and immature. This immature female psyche lacks a caring mother figure within. In the first part of the story, we learn that the father took in another wife and he was completely dominated by her.We notice that this is the only time Cinderella’s father is mentioned in the story. He is an indolent father because he fails to save his daughter from the torturing hands of his wife. The father is an â€Å"absent-one† in Cinderella’s life. Yet, he does a great contribution to the whole story. The female psyche starts out with an almost non-existent father figure or Animus and, at this stage, the mother is dead. This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand u p for her. ‘Doing nothing’ is the most expressive form of violence.The father does not offer any guidance in his daughter’s life. He does not even attempt to control the raging forces within her, personified as the cruel stepmother. He does nothing against the Shadow within the female psyche. In other words, the father represents a weak Animus in the psyche. As mentioned before, after the death of the father, a women-threesome is formed. The stepmother is a total negative character. She represents the negative power of the psyche. The stepsister, although being a passive character in the tale, also is connected with the mother and intensifies her negative power.Cinderella is the only positive power of the psyche in the threesome. From the beginning of the story, we notice that the Shadow s dominant in the female psyche. It has a control over the Animus and is, at the same time, trying to overthrow the Ego, which is young and under-developed. The stepmother, repre senting the Shadow archetype, is jealous of the young girl for her beauty, kindness and good nature. Thus, she is an active wrecker. The woman-threesome represents the principals of the woman’s psyche, the essential self of women. Every woman is born with this essential self.Cinderella, the positive character in the threesome, is the real essence of the woman’s self. According to Jung, the features of the dark side of the woman’s soul are expressed by instability, anger or hatred. The beginning of the story shows an unbalanced psyche. There is a dominance of the Shadow and a lack of the Animus in this psyche. The Animus is the man’s power of the psyche; it is a masculine principle that appears in the woman’s psyche. Typical attributes of the Animus are, for example, rationality, power, action or reasonableness.The Animus and the Self complement each other. Finally, in the harmonized psyche, they are integrated into one another, thereby achieving in dividuation. Cinderella is passive in the beginning of the story. She suffers a lot but does not protest against the atrocities towards her. She simply waits for her destiny to get better. At this stage, the Self, the essence of the woman’s psyche, is suppressed under the dominance of the Shadow in the unconscious. Also, in the stage Cinderella does not have any friends. She is not sharing her grief with anyone until the fairy Godmother appears.The fairy Godmother appears when Cinderella was alone in the house, her stepmother and stepsister having left for the royal party at the king’s palace. The Godmother is the only friend Cinderella has, who compensates her love, friendship and the feeling of loneliness. Jung describes the fairy as the â€Å"soul-mate† and â€Å"the incarnation of inspiration and spiritual fulfillments†. The fairy Godmother comes to Cinderella from some unknown place. This symbolizes the unconscious. Now, Cinderella shares all her sor rows, wishes and grieves with her, and, finally, finds relief in a friend.This relief was very essential for her existence. The fairy Godmother from her unconscious is her own thought, her desire and hope for the change of the current situation. Talking with the fairy, Cinderella pursues her hope for a better life. Here, the Ego is trying to find a way for its integration with the Animus, in the absence of the Shadow. The Shadow finds Cinderella as a threat and hence, does not allow her to attend the royal party. Our heroine is left alone at home when, for the first time, she speaks out her wish. Thus, at this stage, there is a first glimmer of awareness on the part of Cinderella.She is considered a threat by the Shadow figure in her psyche. The Ego is restricted in freedom. It is ‘alienated from normal life’ (Jung). It continues to ‘hide’ in the house and is forced to retreat from the normal life it wishes to live. The appearance of the Godmother meant the revelation of Cinderella’s wishes. Later, the fairy disappears. This means that her hopes are revealed and must be suppressed. It must be hidden deep in the unconscious. Hence the fairy god mother disappears, never to return in the story. But her magic and magical powers do not disappear completely.It remains with Cinderella till she wears the glass slippers and turns into beautiful Princess. Cinderella is blessed by the fairy Godmother. She is enchanted, gets new, beautiful dress, jewels, and a pair of glass slippers. This magic symbolizes her taking on a social mask. She presents herself the way she wants to be seen by other people. Here, the archetype of Persona has come to the fore. The Persona is the character we assume and that which we relate to others. It includes our social roles, the kind of clothes we choose to wear and our individual styles of expressing ourselves.Jung explains that Persona is important to achieve psychological maturity. The moment of the Cindere lla’s decision to attend the royal party indicates the rise of Animus in the psyche. She uses the magical powers enchanted upon her and this stands for the rebirth of Animus, the man’s psyche in her mind. Even though she stays a passive victim under the pressure of the external circumstances, on the level of conscious, Cinderella struggles with it. She is aware of her desires and the power to reach them. This awareness of the inner power is the first sight of the Animus.The Animus principle represents straightness, rationality, power and action (Jung). Cinderella is warned by her godmother to return from the party â€Å"before the clock strikes 12†. During the party, as soon as the clock strikes 12, Cinderella runs away from the palace. Jungian scholars interpret this as the test of the power of the Animus in Cinderella. She does not have any experience with the way the Animus behaves as she has never been exposed to it. She has never tried to be straight or fol low her aims, rather submitting to the negative forces, without protest.She wants to listen to the Animus, but she is afraid of the people’s reaction to her new attitude to life (her Persona). Although she believes that she deserves to be there, she runs away, frightened that she would be recognized. Thus, the twelve-O-clock striking and Cinderella’s run away can be interpreted as the female psyche’s defense mechanism. She is, once again, trying to hide herself and escape from the risk of exposing her true self. On her way home, Cinderella loses her glass slippers. A psychological explanation is that â€Å"a slipper or a shoe symbolizes the person’s attitude to the particular situation†.Here, Cinderella loses her attitude to the man’s principle (Animus) and retires into the unconscious, again suppressed. She failed the test of power, and is not able to encourage herself to fulfill her true desires. At this point, new characters appear in the story- the king’s men who go around the country to find the Princess. This represents a link that is important for the further movement of the story. After Cinderella left her slippers behind, the king’s men found it and brought it to the Prince. The Prince â€Å"proclaimed, by sound of trumpet, that he would marry her whose foot the slipper would just fit† (Perrault).He employed few men to find out the Princess. Thus, they began to try it on every young lady in the country and, eventually, find Cinderella. These men, who are employed by the Prince, may represent the part of Cinderella’s mind, which has an impact on her self-evaluation. She is trying to regain her strength. She concludes that she wants to raise her social status. This implies that she is taking a positive attitude towards the newly-found Animus in her psyche. She is trying to integrate with it. When the Prince’s proclamation is made, the stepsister â€Å"burst out laughing and be gan to banter her†.She tried to stop Cinderella from trying the glass slippers. This implies that the Shadow and the Anima (the female power) are still more dominant in the psyche. Cinderella does not try the slipper on outright. The woman’s principle in her discourages her from trying to change her attitude towards life. These are the defense mechanisms in her psyche. It symbolizes her doubts- whether she would be accepted in this new attitude; whether she would be hurt again. The men were ordered to let everyone try the glass slippers. Hence, Cinderella was obliged to try it.In a sense, she was taking her slippers back. The decision to try the slippers symbolizes the rise of the Animus. As it was mentioned before, a shoe (or slipper) represents the attitude towards life. Cinderella took her shoe back which means that she was again overtaken by the attitude of the Animus. Cinderella has to become conscious of her power first, to change her terrible circumstances. When she realizes her powers, the Shadow loses its dominance in her psyche and the Animus takes over the power. This was the final test of the power of the Animus and she succeeds.The moment Cinderella wears the shoes, she is transformed into a beautiful Princess. This symbolizes the moment of victory of the Animus. Our heroine has taken the attitude to the Animus principle. She has accepted the Animus in the unconscious and is accepted by the society, too. By transforming into a Princess, Cinderella intensifies her new life attitude. Also, the Prince and his men symbolize protection so that the Shadow does not once again dominate the psyche. The story ends with Cinderella’s union with the Prince. The Prince represents the Animus.Thus, finally, the Ego is united with the Animus to form the true self. The evil characters in the story are not mentioned again. This indicates the death of the negative power in the psyche. The female psyche is now completely developed and, therefore, t he process of individuation is complete.CONCLUSIONIn this project, I have tried to show how the theory of collective unconscious propounded by Carl. G. Jung is working in fairy tales, taking the examples of ‘Snow White and the Seven Dwarfs’ (Grimm) and ‘Cinderella’ (Perrault).I have tried to outline the various archetypes in both the stories. Though these stories have changed over time to adapt to the society, the archetypes have remained the same. I have done a psychological analysis on both ‘Snow White’ and ‘Cinderella’. With a look into its history, it is shown that these stories were independently created in different parts of the world. They are from different cultures, tribes or nations. Yet, there are a lot of similarities between these stories. Both stories are of the development of an immature female psyche.It is concerned with the psychological process of individuation. Through an archetypal interpretation of both these f airy tales, it is concluded that individuation was successfully achieved. Also, the fairy tales describe the importance of the Animus archetype in the woman’s psyche. Both our heroine’s, Snow White and Cinderella, in their respective stories are unable to understand what is useful from the conscious and had little idea of their own dark side, at the beginning of the story. The Ego in these female psyches is not aware of the existing, dominant Shadow.Then, as it develops, there are conflicts between the Ego and the Shadow. The Ego undergoes many stages in this stage as it gathers knowledge from the depths of the unconscious. In the end of both the stories, the Ego finds a way to escape from the clutches of the negative energy. Thus, it triumphs over the Shadow by integrating itself with the Animus. Thereby, both the heroines achieve individuation. In other words, the development of the female psyche is complete. From a psychological perspective we can say that both the heroines undergo similar emotions and personal experiences.Both are hated and tortured by their stepmothers; they start out without an Animus and lack an image of a loving mother. Both wish to be free from the clutches of the Shadow. Finally, through struggles, sufferings and conflicts, they find their Princes, thus, uniting with the Animus. The behavior and motives of the female psyche is also quite similar. Thus this psychological analysis clearly shows that there exists a similarity of archetypes that appear in these fairy tales which were created by independent cultures. This psychological analysis is not only applicable to fairy tales but also to the contemporary literature.Questions would arise as to what is its relevance in the present day literature and what effect does it have on children and adults. We can find the answer if we observe and compare the experience of children and adults engaging in fairy tales. As Walter Odajynk, in his article ‘The Archetypal Interpre tation of Fairy Tales: Bluebeard’, argues, through archetypal interpretation, the psyche is engaged. While reading a fairy tale or any serious literature, an adult, with his/her matured intellect, may either interpret it in relation to a critical theory, personal identification or, ideally, an archetypal interpretation.However, a child does not have the context for critical theory, or the developed Ego for complex identification. In other words, a child does not have a mature intellect. The fairy tale serves as a method of emotional and psychological instruction. A child would be able to recognize the difference between good and evil, positive and negative, masculine and feminine, which are certain concepts propagated in all the fairy tales, with the help of archetypes. Thus, for the child, a fairy tale is like an early education in archetypal structures.This education begins with simple representations that are depicted in cartoon form, such as Pokemon and many Disney films, and then extends to more complex fantasy genre, such as the wizard tales of ‘Harry Potter’ (J. K. Rowling), ‘Twilight’ (Stephanie Meyer), ‘Lord of the Rings’ (J. R. R. Tolkien), etc. These days, children are more familiar with the Disney Films and not with the Grimm Brothers and Charles Perrault. Disney has obviously taken the archetypes represented in the fairy tales. The various archetypes appear in the Disney films, Harry Potter, Lord of the Rings and many other modern fictions.Observing the plot of these fictions, we would find the common archetypes- the righteous warrior, the villain who must be overcome, the humble birth and the prophesied journey of the hero. Disney’s heroines are all pure, beautiful, innocent and sweet, whereas heroes are all noble, heroic and are on some quest or adventurous journey. In the Disney Fairy Tale Films, the fairy Godmother, like the one who gets Cinderella ready for the Ball, serves as the archetype of ‘Wise Old Woman/Man’. This archetype serves the purpose of being the mentor (helper). In ‘Lord of the Rings’, it is Gandalf who is like the archetype of ‘Wise Old Man’.In ‘Harry Potter’, it is Albus Dumbledore. Also, Hermione Granger (Harry Potter’s friend) is an Anima. In ‘Lord of the Rings’, we find Sam as Frodo’s Anima, though they are both males. Speaking of the Shadow archetypes, the famous villains nicely personify the Shadow. So, Lord Voldemort and the Deatheaters are the Shadow in ‘Harry Potter’. The villain is what the hero could become if he fails in his quest. This fact is repeated several times in the ‘Harry Potter’ series. Harry, who has equal powers as Voldemort, is invited many times to join him as a Deatheaters.Likewise, the evil Queen in Disney’s ‘Snow White’ is corrupted by the Shadow quality of envy, placing her in stark contrast to Snow White’s purity and beauty; while Cinderella’s wicked stepmother could be said to represent a contrast to Cinderella’s gentle kindness and ability to take joy in small things. Thus, we can conclude that even in modern fiction, the archetypes do work to express the collective unconscious. This project focused mainly on fairy tales, rather than modern fiction because, as Marie von Franz says, â€Å"fairy tales are the purest and simplest expression of collective unconscious psychic process.Therefore, their value for the scientific investigation of the unconscious exceeds that of all other materials. † Fairy tales allow the unconscious to be observed more specifically. The characters in fairy tales represent archetypes, not human being, and thus, the unconscious is more easily accessible. In other words, the unconscious elements become more conscious in fairy tales. In conclusion, we can say that the archetypal nature of fairy tales make them appealing to ch ildren and adults, and transcend cultural boundaries.The theory of collective unconscious is not limited to a certain culture, place or nation. It is valid in comparison of independently created stories of all times, be it ancient or modern. We must not miss to notice that in stories, the archetypes are always fragmented into individual characters, but in real life, each of us carries qualities of each archetype in us. If not, we would not be able to relate the characters and archetypes, and accept them. You have an Anima or Animus. Likewise, you have a Shadow and a wise part that knows the best answer. It is just that you must learn to listen to it.

Historical and political relation of anthropology with human rights Essay

From the onset, it is necessary to define anthropology as the social science that is involved with studying the inherent relationship patterns and origins of human beings. As a juxtaposition, the concept of human rights refers to the intrinsic freedoms and rights to which all and sundry (human beings) are entitled, if only by virtue of belonging to the human race, and these are broadly categorized into two main classifications, including the socio-cultural and economic rights, which pertain to the rights to education, food, work and participate in culture. The other distinct grouping of rights and freedoms are those of civil and political nature, encompassing the ideology of people being equal before the law, the right to liberty and life, and also, the freedom to freely express oneself, provided that this does not interfere with that of other people. It is noteworthy that the United Nations Universal Declaration of Human Rights – a non-binding declaration by the United Nations General Assembly in 1948 – reiterates the equality of all humans as relates to their rights and dignity, further acknowledging that each individual was equipped with the vital tools of a rational conscience and logical reasoning, and thus, all subsequent inter-personal relationships ought to reflect a communal spirit of brotherly co-existence. This cognition is widely viewed as being the framework for justice, peace and freedom in the globe today (Goodale, 2004:18-29). From a historical perspective, the anthropologist is more concerned with deciphering the linkage between the afore-mentioned rights and the prevailing localized cultures, from whence an understanding of the basic outline of social justice against a backdrop of cultural relativism is investigated. The general concession is that indeed, deliberation into the historical aspects of anthropology reveals a contribution to both the practical and theoretical facets of human rights workings. Select case studies closely related to this postulation include the current crisis in the Middle East, pitting the Israelis against the inhabitants of the Gaza strip, the Rwandan genocide (Bowman, 2000:31-49) and the topical issue of gay rights in Southern Africa. The former predicament entails Israel devastating, over the recent past, a population of some 1. million inhabitants in Gaza, with their arms tied behind their backs, owing to the fact that there is no active army in Gaza. Statistics reveal that close to 1300 Palestinian casualties are on record, as opposed to a measly 13 Israelis in the raging conflict, largely regarded as a modern day case of ‘ethnic cleansing’. Since the year 2006, Israel placed a blockade into the Gaza region, thus inhibiting the delivery of necessities such as medicine, food and fuel. Previous attempts to foster harmony and well-being in the region, with cease-fires being disrespected severally, have led up to the present situation in which the stakeholders in the conflict, chief amongst which is the Hamas, the Islamic Palestinian socio-political faction that has been in control of the Gaza strip, and Israel itself, have agreed to permanently seek a lasting solution to avoid more bloodshed. The possible recommendations to aid in arriving at a peaceful co-existence is scenario where Israel takes the front row in ensuring a sense of hope to the Palestinians, via the action of taking the political risk and dismantling the illegal West Bank Settlements. On their part, Palestinians should institute measures to ensure they elect purposive leaders into power, if only to militate against the eventuality of history repeating itself iteratively. Hamas should in turn cease firing missiles into Israel, which only serve to wound and kill majority of the innocent civilians, and the large scale smuggling of arms, so as to avoid the likelihood of the situation degenerating into another â€Å"United States versus Al Qaeda† affair. Also, the other stakeholders in the conflict, namely Jordan and Egypt, should seal all loopholes that enable the military exploits of the Hamas to fall through. This being said, the International community should actively ensure they do not turn a deaf ear to the conflict, to be spearheaded by the United Nations and the European Union. The latter, in detail, involved South Africa holding its second, fully democratic elections in the year 1999, which were characterized by the recognition of a wide array of groups and previously neglected factions of the population, such as the gay and lesbian community. Earlier on, the country made history by pioneering non-discrimination on the basis of an individual’s sexual orientation, with gay and lesbian activists championing their cause by widely challenging the very constitutionality of laws that infringed on their freedoms, organizing workshops to educate voters on their rights, plus lobbying for the drafting and resultant implementation of rules and legislations guaranteeing equity in the rights of all citizens (Goodale, 2004:43-54). They also went a step further and created working relationships with non-governmental organizations like the Human Rights Commission and the Commission on Gender Equality, in addition to forming outreach programmes for the members of the gay and lesbian community, especially those that lived in townships. Of particular note is the fact that sodomy has been decriminalized before the South African courts, thus recording another victory in the war for adequate recognition of this community. Of significance is the assertion that, these developments were achieved even with the realization that the South African populace was still divided along ethnic and racial boundaries (Riches, 1986:16-29), and more importantly, within the indigenous cultural groupings in the country, homosexuality is deemed non-existent, or on the best case scenario, a foreign acquisition. Thus, in a nutshell, this case study can be assessed from the view that it not only shapes social patterns, but also, it is instrumental in the democratization of regimes, as influenced by the civil society. Yet another occurrence was witnessed in an iconic court case in Japan (2008), involving the challenging of the historical definition of whom the concept of â€Å"human rights† is meant to apply. The immediate bone of contention was that the court of the day had proceeded to expand the rights of the children of Japanese fathers and non-Japanese mothers to claim Japanese citizenship, and thus by extension, such definition by the justices in the case served to only ensure the protection of the fundamental human rights of Japanese citizens, excluding those of other non-citizens. In this way, this can be said to expressly alienate those people who did not have papers certifying their Japanese citizenship. However, this ought not to be the case, as the rights in question should be guaranteed to every human being, as the very name suggests. In a publication by one Professor Jones regarding this case, he posits that there is a sorry state of affairs in Japan, citing that the tendency of the Sovereign state to mediate the citizens’ claims against each other should be sharply contrasted against the Anglo-American system, which is characterized by human rights being the limiting factor of the state’s power over individuals. In this way, the case is illustrative of how culture and history can affect and/or influence human rights in society (Kurtz, 2001: 43-52). Whilst still appreciating the historical contribution of anthropology to human rights, it is worthwhile to take mention of the concept of hegemony, defined as the utter domination of a state over its allies, and how this has over time influenced historical changes, especially on the cultural frontier. As a focal point, hegemony facilitates the comprehension of power within the confines of routine daily activities, as may be underpinned by cultural (customary) practices (Asad, 1991:13-27). On a more positive note, it is fit to state that the anthropological theory has over the years succeeded to come up with a contested, unbounded and widely flexible supposition of the term, which consequently goes a long way in uncovering the cultural understandings and how these in turn shape power relations, naturalizing domination and acting to suppress different manifestations of resistance in the society (Gledhill, 2000:29-44). Again, drawing from the South African example, although in a different context, it can be established that, quite ironically, the evangelical work of missionaries can be termed as being part of hegemony, although it heightened societal consciousness, going on to spark a form of resistance that gave rise to the awareness of the black community, fuelling the fight against apartheid. Of particular contention is the debate whether, as an interpretive issue, resistance in society should require consciousness and be collective in nature, or whether on the other hand, an end of attaining justice should be envisioned from the onset. Also, it is disputable whether the concept at hand should be extended to incorporate such actions as may be influenced by a sense of non-cooperation or discontent. In the recent past, there has been great agitation in the anthropological circles, wherein the concept of culture has been scrutinized in detail. Earlier anthropologists focused chiefly on societies that were virtually unaffected by factors such as colonial influences, for example, but there’s light at the end of the tunnel since, today, greater emphasis is being laid on flexibility of the frame of thought of culture, as afore-mentioned, now not only being affiliated to habits and daily practices of a people, but also, being engrained in the values they abide to and the ideas subscribed to. In other instances, there have been historical documentations of indigenous communities confronting resistance from the perspective of laying claim to various resources, more so when these individuals are challenged to prove an authentic affiliation to the culture under consideration (Rejali, 1994:49-60); disqualification usually results from the assertion that certain social groups have already undergone cultural changes. In a strange twist, it can be seen that the concept of ‘culture’, as formulated by twentieth century anthropologists in a bid to champion the rights of small-scale communities in the wake of colonialism and other civilizing projects, has in present times been apposite to differing political ends of resisting reform in certain sectors and turning a deaf ear to the claims of indigenous people’s claims to reparation (compensation). On a transitional note, the political inclination of anthropology to human rights can be deduced by critical analysis of the two disciplines (Cohen, 1978:34-57). Such relationship necessitates a vivid conception of the said human rights within a template of anthropologically conceived ideas or principles. A brief intermission here is the appreciation that, as an academic discipline, anthropology seeks to study the various forms and bases of human unity and relative diversity, while the other side of this coin practically applies the acquired knowledge to actively solve problems that may plague the human race (Gledhill, 2000:59-83). This being the situation, politically-oriented anthropologists should concern themselves with instances where the denial of certain rights is pegged on the differences in one human aspect or the other. The validity of using ‘human difference’ as an indicator of human rights is that it incorporates the very specificity of what we as humans – be it collectively or from an individual stance – have evolved to be, both culturally and socially. It is worth noting that the term ‘difference’, as applied in this context, refers to the linguistic, socio-cultural and/or biological characteristics of people, relative to the initial human capacities that facilitated their production in the first place. On the flipside, as may relate to human rights, these ‘differences’ may principally represent the products of the realization of social relations, personal identities and cultural forms (Goodale, 2004:98-110). The general implication of the above argumentation is that specific human rights may be advocated for by calling upon the trans-cultural, but positive, right to difference. This analogy can be stretched further still by acknowledging the unwritten law that anthropologists who study and research instances of societal injustices and assorted cases of human rights abuses do, in the actual sense, bear an ethical obligation to find lasting solutions to these predicaments. In particular, those working with marginal and/or indigenous communities shoulder the responsibility of supporting these groups by all means available, including advocacy as mentioned above (Fried, 1967:61-69).

How Far Do You Agree with the Opinion That the Boer Was Acted as a Spur to Much Needed Reform in Britain

How far do you agree with the opinion that the Boer war acted as a spur to much needed reform in Britain? The Boer war acted as a catalyst to reform in many ways. It had considerable impact politically and socially. Many changes were put in place, from improving the army to public health care. Initially what acted as a spur was the amount of deaths and the cost of the war, 22,000 were killed costing ? 200 million therefore this led to a wake up call for the Army.However one may argue that it was not just the Boer war that induced reforms to be made in Britain; individuals such as Richard Burton Haldane who was appointed war minister could have implemented changes without the Boer war being a significant factor. The Committee of Imperial defence was set up in 1903 addressing that critical reform was needed in regards to the way Britain defended itself and strategy of planning.This was introduced to learn lesson from the Boer war furthermore Lord Salisbury established the Royal Commiss ions under Lord Elgin, some of the changes that were implemented was the abolition of the post of Commander in Chief, this was highly significant as it allowed other posts to be introduced and the elite class did not buy there way into the Army and posts were given by merit hence allowing more competent individuals to run the Army. Source B shows that inefficiencies of the armed forces and the how important the Esher Report was in reforming it.The source highlighted that there was much needed reform in the army and much of these reforms that were introduced were due to the Boer war, â€Å"it coolly analysed the confusions and ineffectiveness of military administration† considering the provenance I can see that it is from a Book by the historian Corelli Barnett who studied English military history and it was published in 1970 hence implying that Barnett must have collected a wide range of sources over a long period of time and judged them fairly before coming to a rational con clusion.Source A suggests that Britain has had â€Å"an imperial lesson† and will learn from it and will strengthen the Empire. The nature of the source is an extract from a poem by Rudyard Kipling. The provenance could be challenged as it was written by Kipling who was pro Empire, so it may have an exaggerative nature however one may argue that the idea of reform as a result of the Boer war was widespread and accepted at the time, moreover source B which is reliable also accepts the viewpoint.There were huge numbers of men that were deemed unfit for military service; this was made apparent when they led an investigation into why it took so long and why it was so expensive just to defeat 50 000 farmers, from this investigation they saw that they had to make changes hence why the Committee on Physical Deterioration was established; it was set up in 1903 and found that it was not physical deterioration regarding physical health but there was a growing need to improve living, wo rking and education conditions.This produced the need for national efficiency. Many different groups wanted to improve Britains social system by making the Empire efficient and putting more children into Education for longer to allow the spread of social mobility. A meritocracy was also introduced thus allowing individuals to embark of a career based on qualifications and not social class. This could only have been put in place because of the Boer war. Source D evidently shows the need for national efficiency, it shows that 26. % of people were rejected out of 3600 recruits in Sheffield, York and Leeds. â€Å"3 out of 5 volunteers were rejected† this was astonishingly high and highlighted the pressing need to change Britain socially. Free school meals were introduced in 1906 and provision of medical inspections of children. The National Insurance Act of 1911 which provided free medical health for the working class. As a results of the many deaths that occurred in the Second B oer war, new administrative structures were put in place.From acknowledging the fast reactions, skills and talented nature of the Boers, the British needed to put some hard reforms in place. Firstly they removed the traditional bright scarlet uniform for the khaki which allowed a better disguise, new weaponry was introduced such as the Lee Enfield rifle and quick firing guns were produced which were learned from massacres like the one at spion kop. Hence showing that all these changes were due to the learning of mistakes from the Boer war.Source C is an extract from a memorandum from Haldane on military reform published in 1907 this was written by Haldane who was appointed the war minister thus implying that this source is accurate as a war minister would not make exaggerated claims on reforming the military, therefore the provenance of this source is reliable, this source explains the mobilisation of the territorial or home force. However some may say that it was not largely due to the result of the Boer war but because of political changes that were inevitably going to take place.Whenever a new party comes into power is it understandable that they would make important decisions on how to run the country, nevertheless one may argue that the Boer war had an impact on decision making. Furthermore judging from the sources most of them all are in agreement with each other Sources B, C and D are written by reliable people, Historian and politicians were are Source A is a poem written by an individual who is pro empire however there is substantial evidence to support what is written in this poem. Hence why I agree with the view that the second Boer war resulted in much needed reform in Britain.

The Brain and Cognitive Functioning

The Brain and Cognitive Functioning Jessica Johnson PSY 360 March 11, 2013 Donna M. Glover-Rogers, Ph. D The Brain and Cognitive Functioning The following describes the role of the brain and the impact it has on a person’s cognitive functions, including how injury to certain part of the brain can affect specific cognitive functions while leaving others intact. To support this idea we look at the case of Phinneas Gage, and how his brain injury affected his cognitive abilities. In order to understand what role the brain plays in cognitive functioning one must understand cognitive functioning and what it is.Cognitive functioning refers to a person’s ability to coordinate thought and action as well as the ability to direct it towards a goal. It is needed to overcome environmental obstacles, orchestrate plans and execute complex sequences of behavior. When a person thinks, gives their attention to something, has or feels some kind of emotion, makes a plan, learns a new task or information, or recalls a memory they are using their cognitive functioning all of which starts in the brain. As the world has progressed so has science and technology; as theses fields have grown so has the ability to learn about the brain and how it works.Today we know that the brain is made up of millions small parts all working together to serve a final outcome. However technology is not the only thing that assists researchers in the study of the brain; people who have suffered traumatic brain injury have equally aided scientist in understanding how the brain functions. One of the most remarkable examples of the impact a brain injury can have on a person’s life is that of Phinneas Gage. This case proves to be one of the first to confirm that damage to a person’s frontal cortex could result in a significant personality change despite other neurological functions remain intact.In September of 1848 an accidental explosion caused a 20 pound iron rod from the railroa d tracks to penetrate Gage’s Left cheek bone and exiting just behind his right temple (BSCS 2005). To everyone’s shock Gage never lost consciousness through the injury; however, the injuries to his brain caused a complete change in personality. Prior to the accident Gage was reported to be calm and collected man. He was said to be very level-headed and it was reported by his supervisors that his calm demeanor made him the best foremen on his team. The trauma to Gage’s brain caused a severe and unpleasant change in his character.Upon recovering and returning to work he was said to be highly volatile, full of rage, impatient and vulgar. Despite making a full physical recovery his behavior made such a negative change he was never able to work as a foreman again. Gage’s case was one of the first and often considered the most dramatic cases of personality change caused by brain injury that has ever been documented. The injuries that Gage sustained to his brain raised several questions about the impact the brain has on cognitive functioning. It has become clear that a common side-effect of frontal lobe damage is drastic change in one’s behavior.An individual’s personality can significantly alter after damage to the frontal lobes, particularly when both lobes are involved (Hernandez, 2008). Many important things were learned from Gage’s life altering accident, first and possibly most important it shows that not every brain injury will cause death. In addition researchers learned that not all brain injuries will cause loss to all brain functions (2008). Although being over 100 years old the injury Phineas Gage suffered to his brain is still known as one of the most educational injuries in history.Not only did it prove one could survive such a traumatic injury to the brain but it proved they could still function physically and mentally. This case was also the first to prove that the frontal cortex of the brain directly i mpacts personality, and although one could recover to physically function as they had before the altered personality may never change. Along with cases like Phinneas Gage, advancements in technology have given researchers a picture of how the brain controls cognitive functioning but to what extent remains unclear.References Hernandez, Christina. (2008). Phineas Gage. Retrieved March 08, 2013 from http://www. associatedcontent. com/article/831073/phineas_gage_pg3. html? cat=4 National Institue of Health Office of Science Education BSCS (2005). Retrieved March 07, 2013 from http://science. education. nih. gov/supplements/nih4/self/guide/info-brain. htm Willingham, D. T. (2007). Cognition: The thinking animal (3rd ed. ). Upper Saddle River, NJ: Pearson/Prentice Hall. Retrieved from Ebsco Host