Category: Archetypes

Jungian Archetypes and Symbols

  • C.G. Jung, Kepler and Pauli – The Synchronicity Triangle

    C.G. Jung, Kepler and Pauli – The Synchronicity Triangle

     The psychoanalytic C.G.Jung and the famous astronomer Kepler were both intuitive thinkers and empiric scientists with strong mystic tendencies. Pauli was a famous particle physicist, who collaborated with C.G. Jung on the concept synchronicity. When I studied Kepler’s work, I found a similarity of C.G. Jung’s and Kepler’s view on astrology and to my surprise, that Kepler even used the term archetype just in the way C.G. Jung did. This is touched in Pauli’s essay on Kepler. Kepler, Pauli and Jung were trailblazers in their own disciplines as well as in the realm of collaboration across disciplines. Their similar approach as scientist or physician and the concept of synchronicity and archetype form a triangle.

     

    C.G.Jung valued astrology as one of the intuitive methods he used like the I Ching. For him astrology is based upon the synchronicity principle, i.e. meaningful coincidence: “Astrology is a naively projected psychology in which the different attitudes and temperaments of man are represented as gods and identified with planets and zodiacal constellations”.

    Kepler is recognized as one of the founders of modern science. He was a devout Christian with mystical tendencies (obvious in his book Harmonices Mundi) working as astrologer of General Albrecht von Wallenstein, a successful soldier of fortune for Rudolph II. Keplers (two) horoscopes of Wallenstein are studied and books written about them until today. Kepler lived during turbulent times, the 30 Year’s War, in “Germany”. This war, by no means only a religious war, decimated half of its population. Kepler was not only working as astrologer in order to make ends meet (he got never paid for his job as court astronomer and adviser of the Habsburg Holy Roman Emperor Rudolph II). Although Kepler was deeply dissatisfied with the way some astrology was practised, he strove to improve the predictive capability by strengthen the theoretical underpinnings of astrology with both mathematical and philosophical models and his superior ephemeris (his Rudolphine Tables). He used carefully selected methods (sun arc directions – and secondary directions – one ephemeris day equals one year of life –  but not for planets but  axis, which is actually a primary direction i.e.one degree on the Zodiac equals one year of life).  For Kepler the sun/earth relation is paramount..He also compared astrological predictions correcting assumed birth time and was able to use “true time” that is actual pace of the Sun not the mean time.  

    Kepler strongly believed that ‘The world of nature, the world of man, the world of God—all three fit together.In particular, Kepler reasoned that because the universe was designed by an intelligent Creator, it should function according to some logical pattern.Kepler converted to the Copernican heliocentric universe early in his career but was also strongly influenced by neo-Platonic philosophy, which saw the divine in the regularity of geometry (“God always geometrizes”, Plato). It is no exaggeration to say that Kepler was one of the most outstanding and dramatic figures under all his contemporaries and a scientist who repeatedly attacked dogmas of astronomy or astrology. He not only ensured that the Copernican theory became widely recognized, but actually gave it the needed physical and mathematical underpinnings. Before Kepler’s Laws, the basic Copernican model was neither more reliable, nor physical more accurate or mathematical less complicated than the old Ptolemaic model: All astronomers assumed (wrongly) uniform circular motion. When Kepler worked in the Prague period on the “Astronomia nova“, he discovered the famous second law of planetary motion (“planets moved in elliptical orbits, in which a focal point the Sun is”) with the millennia-old paradigm. This needed intellectual courage of Kepler, because it was a break with the tradition of all great astronomers from Ptolemy and Copernicus and the concept of the perfect form – the circle. Nonetheless, after numerous calculations and double-checks Kepler regretfully accepted, basically apologizing to god in his foreword. Kepler also calculated without wavering the birth date of Jesus Christ new. In his work “About the date of birth of God’s true Jesus Christ” Kepler identified the star of Bethlehem with the great conjunction of Saturn and the Jupiter and calculated that this event on the third year CE.

    Pauli, a “Wunderkind” may be called a pioneer of quantum physics and leading member of the group of theoretical physicists, including Niels Bohr, Werner Heisenberg and Erwin Schrödinger. The group transformed our understanding of the way matter behaves at the subatomic level encountering a new world where Einstein’s theories (and Newtons Laws) do not apply. Exploration of the Pauli-Jung collaboration is particularly interesting because of the holistic view of his major scientific work, which won him the Nobel prize.The Pauli exclusion principle explains how matters form and a variety of astrophysic effects. 

    On the psychic side, the Pauli effect was named after the anecdotal bizarre ability of his to break experiments simply by being in the vicinity and his sarcastic remarks toward colleagues. Pauli has always been a strong drinker, which did not seem to hamper his scientific genius. His marriage with a bar singer-dancer became a complete disaster within one year. His mother committed suicide. Despite his Jewish origins Pauli was baptised catholic. Pauli met with Jung, whom he consulted regularly till 1934 in a deep psychological crisis. Especially Pauli’s dreams, which were full of symbolism from alchemy, were extensively discussed.

    Pauli himself had written an article called “The Influence of Archetypal Ideas on the Scientific Theories of Kepler” which appeared later in a volume with an essay of Jung’s on synchronicity. The Pauli-Jung collaboration aimed at explication of a unifying or connecting principle bridging the gap between mind and matter or (quantum) physics with psychoanalysis. Jung’s theory of synchronicity stipulated that certain events-often called coincidences-actually reveal the operation of an non-causal connection between mental and physical events through meaning. The history of Jung’s reception by the scientific and scholarly communities is cautious – they largely discredited theories of Freud are considered scientific, but although many Jung’s concepts are widely used his overall work is labeled often as unscientific.  Synchronicity has been the prime target for criticism of Jung, but is for me a natural extension of Jung’s view of the intuitive function.

     Synchronicity

    Jung coined the word to describe what he called “temporally coincident occurrences of acausal events” or  “meaningful coincidence” and “acausal parallelism in which archetypes and the collective unconscious are governing a dynamic that underlies the whole of human experience and history — social, emotional, psychological, and spiritual.  

     Synchronicity does not admit causality in the analogy between terrestrial events and astrological constellations … What astrology can establish are the analogous events, but not that either series is the cause or the effect of the other. (For instance, the same constellation may at one time signify a catastrophe and at another time, in the same case, a cold in the head.) … In any case, astrology occupies a unique and special position among the intuitive methods… I have observed many cases where a well-defined psychological phase, or an analogous event, was accompanied by a transit (particularly when Saturn and Uranus were affected). – Carl G. Jung

    Jung’s paradigmatic example of a synchronicity occurred during a therapy session, and the connecting meaning in a synchronistic event is subjective, related to the individual’s psychological maturation, or individuation. Jung and Pauli believed, events like this occur too often enough to be only meaningless coincidence. Jung noted taking as usual phenomenological stance, while it would be “absurd” to consider the conjunction of dream material and life events to be causal, “it is wise to consider the fact that [these coincidences] do happen…The East…considers coincidences as the reliable basis of the world rather than causality. Synchronism is the prejudice of the East; causality is the modern prejudice of the West.”

    Jung mentioned the concept again in his commentary to Wilhelm’s translation of “The Secret of the Golden Flower”. He concluded that “the causality principle” cannot explain “psychic parallelisms” that must somehow be connected but are not causally related and equated synchronicity with the Chinese Tao. Jung would write about this concept again, and when he did, his focus would shift from the empirical and phenomenological aspects of synchronistic phenomena to the ontological and archetypal nature of such events. Pauli thought that the probabilistic nature of quantum theory and the Uncertainty Principle offered the possibility of discovering something beyond the mind-matter gap which transformed Jung’s understanding of synchronicity. As a result of his interaction with Pauli, Jung gradually came to see this non-causal connecting principle as an explanatory theory must be seen in combination with causality to lead to a better understanding reality, rather than having only a subjective meaning.

     Astrology and Alchemy

     C.G.Jung saw alchemy as continuation of Gnostic thoughts and wrote: “The starry vault of heaven is in truth the open book of cosmic projection, in which are reflected the mythologies, i.e., the archetypes. In this vision astrology and alchemy, the two classical functionaries of the psychology of the collective unconscious, join hands”.

     In his book “Psychology and Alchemy” of C.G. Jung contains Pauli’s early dreams which provided Jung with a rich resource for theoretical exploration, and his own interpretations played a role in Jung’s theories. Pauli clearly believed that this effort was scientific; he said that “even the most modern physics also lends itself to the symbolic representation of psychic processes, even down to the last detail.” In his final version of the synchronicity essay (The Interpretation of Nature and the Psyche Part 2), Jung wrote that the “archetype represents psychic probability”. Pauli wrote in his Kepler essay (published there as part one), that “pure logic” is not capable of establishing a “bridge between the sense perceptions and the concepts.” Kepler himself thought that scientific ideas discerned by humanity exist eternally as archetypes in the mind of God, and Jung’s theories understand archetypes similar “as ordering operators and image-formers” in the symbolic. “It would be most satisfactory” said Pauli, “if physics and psyche could be seen as complementary aspects of the same reality.”

    Kepler expressed also original ideas in relation to astrology almost like something the physical resonance theory like: the celestial bodies themselves exert no influence on the human fate, but fixed the angle between the rays toward the heavenly bodies the soul at the moment of human birth and later responds specifically to them. He used actually the term archetypes in his astrological work and not only his Wallenstein horoscope legendary. Kepler ideas, as Wolfgang Pauli observed, identify important intermediate stage between archaic, logical symbolic, and new, quantitative and mathematical description of nature. Much of what was later separated in scientific and non-scientific knowledge was at that time merged inseparably. Similar to representatives of scholastic science, Kepler relied on accuracy, allegory, speculative ideas, and mysticism, but unlike the Scholastics he tested constantly each theory and carefully compared the results with the rich observations of Tyco Brahe and calculations. C.G. Jung derived lekewise many of his insights from observation he made treating his patients.

     Ancient wisdom in a global world

    Our modern science begins with astronomy. Instead of saying that man was led by psychological motives, they formerly said he was led by his stars. … The puzzling thing is that there is really a curious coincidence between astrological and psychological facts, so that one can isolate time from the characteristics of an individual, and also, one can deduce characteristics from a certain time. Therefore we have to conclude that what we call psychological motives are in a way identical with star positions. Since we cannot demonstrate this, we must form a peculiar hypothesis. This hypothesis says that the dynamics of our psyche is not just identical with the position of the stars, nor has it to do with vibrations – that is an illegitimate hypothesis. It is better to assume that it is a phenomenon of time. … The stars are simply used by man to serve as indicators of time… – Carl G. Jung in 1929

     The arrogance of today’s scholarstoward medieval age and traditional knowledge is incomprehensible and the humiliating assessments of Kepler activity, which can be found in the “history of Western philosophy” by Bertrand Russell who described Kepler is “an example of what can achieve mediocrity through hard work”. But Kepler, not Galileo came up for the mathematical proof and physical correct model of the heliocentric model. Kepler is particularly suitable for tracking the various sides and peculiarities of the epistemological concepts, problems of scientific paradigm change and the relations between the empirical and theoretical knowledge. Kepler himself speaks of primary images as being “archetypal” [archetypalis], and Pauli develops a detailed correspondence with Jung’s archetypes. Pauli writes: “the view of the universe was not as yet split into a religious one and a scientific one.” Indeed subjects of physics, religion, mathematics and astrology are all found in one single book of Kepler. His astrological and religious themes have been neglected and Jung’s broader view of psychoanalysis has until very recently been marginalized. The tide is slowly turning, though, and at least Jung may yet have his day. Physicists with a psychological or spiritual inclination have taken note of synchronicity and written of its validity for exploring the connection between quantum and classical physics. Others scientists have begun to explore theories of human cognition that rely on constructs very much like Kepler’s and Jung’s archetypes and his evolutionary understanding of human experience so useful in a globalized world, where I cross many cultural boundaries on a given day.To me Kepler’s astrology is not only superstition but contains some psychological facts (like theosophy) which are of considerable importance. Kepler never predicted the future but in possible (character) dispositions. His astrology connects at least culturally and historically the religion and psychology of antiquity with physics and astronomy of today.

     Jung, C. G., Pauli, W. (1952): Naturerklärung und Psyche. Zürich: Rascher (Download)

    C.G. Jung (1955) Synchronicity: An Acausal Connecting Principle

    Wolfgang Pauli. Verzeichnis der Manuskripte und Korrespondenzen im Archiv der ETH Zürich

    Wolfgang Pauli und die moderne Physik. Virtuelle Ausstellung der ETH-Bibliothek

    Pauli Archives, CERN, Nachlassverzeichnis

    W. Pauli, The Influence of Archetypal Ideas on the Scientific Theories of Kepler

    Kepler, Harmonices mundi, Harmony of the Worlds, 1619

  • Male and female archetypes in Wong Kar Wai Films – Draft

    Male and female archetypes in Wong Kar Wai Films – Draft

    For the uninitiated, Wong Kar Wai’s films seem pointless and confusing, which is reinforced by the director’s trademark cinematic indulgences, laggard pacing and minimalist plotting. However, upon closer inspection, it is easy to become intrigued by the rampant symbolism, the metaphor-laden dialogue, and the philosophical and psychological underpinnings of his films. Maybe its a problem of “if you have hammer, everything looks like a nail”, but I cant help his movies remind me on C.G. Jung: Failed individuation, shadows, persona and archetypes manifest in the here and now. But are there common elements that tie his entire body of work together? Is there some underlying structure or theme by which one can gain a better comprehension of his sometimes cryptic images and symbols?

    The classic archetypes  in Wong Kar Wai Films

    One way of approaching the cure for the modern malaise in his films may come from the book King, Warrior, Magician, Lover: Rediscovering the Archetypes of the Mature Masculine, by Jungian psychologist Robert Moore and mythologist Douglas Gillette. Moore argues that masculinity is made up of four archetypal male energies which serve different purposes: King, Warrior, Magician, Lover. Like much of the literature in the mythopoeic realm, KWML is grounded in the psychology of Carl Jung, particularly in his idea of psychological archetypes. While Jung suggested a number of universal archetypes (Mother, Hero), the four personal ones are: the Self, the Shadow, the Animus and Anima, and the Persona. They play a role too, as they are parts of the personal unconscious. I like to investigate, here some archetypes and their shadow representation ( and symbols which are archetypes in the here and now). Each of the four consists according to Moore of three parts: the full and highest expression of the archetype and two bi-polar dysfunctional shadows of the archetype. To better understand this, Moore portrays each archetype as a triangle full (to weak, to strong, and an bi-polar shadow split.  These shadows are the result of the archetype not being integrated in a healthy and coherent way. The two shadows of the Lover archetype are the Addicted Lover and the Impotent Lover. A man possessed by the Addicted Lover is, as Moore puts it, “eternally restless.”Men dogged by the Impotent Lover archetype feel depressed, flat, and dead inside. Nothing brings them joy anymore. They’ve lost their passion for life and become cynical. Relationships, whether romantic or platonic, struggle and falter.

     Ashes of Time is best candidate applying this framework, as it is almost a greek tragedy. You find the cynical magician, the weak king (note the absence of the positive king), the full warrior who becomes a hero and the addicted lover who cannot love. The women are brilliant too, there is the virgin, the animus, the unfaithful and loyal wife and there is Maggie Cheu.

    Brigitte Lin in Ashes of Time (1994)

    Wong’s films, at their most basic level, are an exploration of the double-edged sword known as memory, which may be seen as consciousness. This strong thematic undercurrent is expressed through subtext in the dialogue, characterizations, and the often-minimalist plotting. Pain of loss and the tenacity of remembrance are both destructive forces, yet essential for survival. All the characters in his films are products of this loss, and their actions in the present stem from their reactions to that loss. Unfortunately, the results are often tragic. In ashes of time the girl with the donkey begs the agent for assassins  ( in my view a cynical materialistic magician type):

                  Please help me. I beg of you.

    It’s no use. I’m just an agent. You must solve your own problem.

    “Ashes of Time”

    Ouyang Feng’s lost love ( Cheung’s character in Ashes of Time)  ultimately married his brother because she tired of waiting for her real love return to her. Wai’s camera stares intently at her while she gazes beyond time and relieves the past full of regret to his “friend. She dies as there is no reason to live.  Besides being one of the strongest impression of melodrama, it is also the most puzzling. I noted two times the look in the mirror, visually and verbal in the film. It almost seems tis relates to the pain to learn about ourselves.

    Do you know what the most important thing is in my life?

    Maggie Cheung ponders in Ashes of Time (1994)

    Your son?

    I thought so too. But as he grows up, I know he’ll be leaving me one day. Nothing’s important to me now. I thought the words ‘I love you’ really mattered. I thought they meant a lifetime commitment. But looking back, nothing matters… because everything changes. I thought I was the winner, until one day I looked into the mirror and saw the face of a loser. I failed to have the person I loved most to be with me in my best years. How wonderful it would be if we could forget the past…

    “Ashes of Time”

    The post-modern archetypes  in Wong Kar Wai Films

    His other films are mostly a study of relationships in the post-modern world, in which the exchange of goods and services serves as the basis of all relationships, instead of emotional connection– a representation of cosmopolitan life in modern Hong Kong – and elsewhere. Very few of the relationships found in Wong’s films are based on emotional connection, and the struggle that his characters face is to cultivate deeper forms of association. Unfortunately, many of his characters do not form these emotional connections, out of fear of rejection, and find it much easier to have transaction-based encounters. After thinking this through, and stereotypes not being archetypes, it appears to me that his central archetypes of loneliness are (negative) lover and warrior.

    When I am about to leave, I ask him to take me home. I haven’t ridden on a motorbike for a long time. Actually, I haven’t been so close with a man for a while. The road isn’t that long, and I know that I’ll be getting off soon, but I’m feeling such warmth this very moment.

    “Fallen Angels”

    The most important aspect of Wong’s thematic focus is the transience of relationships. Even if the characters manage to find an emotional connection with one another, they learn to accept the fact that all relationships must end, and those who survive at the end of the film have learned to embrace the moment. This theme was best represented by #223’s (Takeshi Kaneshiro) ‘expiry date’ speech in “Chungking Express”, and the final soliloquy given by the nameless agent (Michelle Reis) while riding into the Hong Kong night on the back of a motorcycle. Not surprisingly, this can also be seen in Wong’s fascination with images of smoke and drifting clouds– like these transient phenomena, relationships form like a puff of smoke, only to quickly lose their cohesion and dissipate into the night. To embody these themes within his films, Wong populates his films with a number of archetypal characters: the ‘impotent lover’, the ‘carefree lover’, and sometimes, ‘the indecisive warrior’.

    The impotent lover

    Tony Leung Chiu Wai as the Blind Swordsman in Ashes of Time
    Tony Leung Chiu Wai as the Blind Swordsman in Ashes of Time

    The impotent lover has been seen in many forms, but their origins and current condition are always the same: the small time gangster Wah Ha-tau (Andy Lau) from “As Tears Go By”, both Yuddy (Leslie Cheung) and the soda counter girl Su Lizhen (Maggie Cheung) in “Days of Being Wild”, the Blind Swordsman (Tony Leung Chiu Wai) in “Ashes of Time”, and Police Officer #663 (Tony Leung Chiu Wai) in “Chungking Express”.

    This the time of year to change into a summer uniform. I don’t know if it is the weather, but I feel that things are changing.

    “Chungking Express”

    The impotent lover is in a constant state of emotional paralysis, arising from his or her inability to forget the pain of a broken relationship. Blinded by the haze of nostalgia and desperately attempting to hang on their halcyon days, they miss the opportunities of the present and are completely unaware of the incessant progression of time.

    Go ahead. I just want you to hate me. That way, at least you won’t forget me.

    “Days of Being Wild”

    #663 of “Chungking Express” is another good example of the impotent lover. Always waiting for his stewardess ex-girlfriend (Zhou Jialing) to return, he is completely oblivious to the fact that Fay (Faye Wong), the counter girl at a local fast food place, has been breaking into his apartment and rearranging his belongings. He does not notice that his canned food tastes different, or that the number of goldfish in his aquarium is increasing.

    To capture the impotent lover’s introspective point-of-view visually, Wong employs a number of cinematic techniques. His use of the Godard-ian jump cut seamlessly blends temporally-exclusive scenes together, making the passage of time unnoticeable. Other Godard-ian touches include the many shots of clocks, which remind the viewer that despite the blind mourner’s fixation on the past, time continues to move on and that moments in the present are fleeting.

    Tony Leung Chiu Wai and Faye Wong share a moment in Chungking Express

    Another interesting technique, seen in “Chungking Express”, clearly represents the lover’s detachment from reality– the film is sped up, but the actors move very slowly. The resulting visual effect then conveys that while the rest of the world blurs by like the flapping of a hummingbird’s wings, the impotent lover is in a stagnant state of existence, lost within their own nostalgic thoughts.

    The addicted lover

    I’ve heard that there’s a kind of bird without legs that can only fly and fly, and sleep in the wind when it is tired. The bird only lands once in its life… that’s when it dies.

    “Days of Being Wild”

    In contrast to the impotents lover is the other staple characterization of Wong’s films, the ‘addicted lover’. Characters that fall into this classification include the hotheaded Fly (Jackie Cheung) from “As Tears Go By”, the lonely beat cop (Andy Lau) from “Days of Being Wild”  an mostely the amnesic Huang Yoshi (Tony Leung Ka-Fai) from “Ashes of Time”, and the fickle Ho Wo Ping (Leslie Cheung) of “Happy Together”.

    I never think about the next time when doing anything.

    “As Tears Go By”

    The carefree addicted lover is a character oblivious to history with no appreciation for the lessons of the past. As a result, their actions usually end up destroying the lives of those they come across. In “As Tears Go By”, it is clear that Fly is the carefree wanderer, since it is his reckless actions that end up destroying three lives, despite the escalating consequences of his previous misdeeds and the volatile situations he manages to entangle himself in.

    Tony Ka Fai Leung drinks the magic wine in Ashes of Time (1994)

    The more wine you drink, the warmer you’ll get. Water will only make you feel cold.

    “Ashes of Time”

    The most literal interpretation of the carefree addicted lover was seen in “Ashes of Time“. Huang Yoshi has his memory of the past erased after drinking a magical wine called ‘A Happy Go Lucky Life’ which erases memory. While the wine has eased the pain of the past for Huang Yoshi , it has also made him forget his emotional connections with others. As a result, his ‘carefree’ existence ends up destroying the lives of the other characters, including the split-personality Murong Yin/Yang (Bridget Lin) and the Blind Swordsman wife but mostly Ouyang Feng’s love  and his “friend” Ouyang Feng .

    Similarly, Ho Wo Ping in “Happy Together” has a shiftless existence living for only the moment. His inability to recognize his history with Lai Yiu Fai (Tony Leung Chiu Wai) ends up relegating him to a lonely permanence of his own doing.

    I used to think there was a kind of bird that, once born, would keep flying until death. The fact is that the bird hasn’t gone anywhere. It was dead from the beginning.

    “Days of Being Wild”

    Through this stock character, Wong illustrates the other extreme to the impotent lover. While the addicted lover is not subject to the anguish of remembrance, they too are caught in a stagnant existence. Instead of missing the opportunities of the present due to an obsessive fixation on some past trauma, they never learn from their mistakes, nor do they ever form stable relationships with those around them. However, the result is the same– a lonely existence in isolation.

    Do you remember at 3pm on April the sixteenth last year, what you were doing?

    Why this question?

    Well, I have a friend who challenges my memory. She asked me what I did on that day. I wouldn’t remember. Do you?

    She told you?

    I thought you would have forgotten.

    What’s to be remembered, I would always remember. So you knew each other?

    For a period of time. I left for the sea, and we lost contact. How about you?

    Me? It’s off. What else did she tell you?

    Not much. We’ve actually only known each other for a short period of time.

    Did you love her?

    Not exactly… just friends.

    If you see her again in the future, tell her I’ve forgotten her. That’ll be better for everyone.

    I’m not sure I’ll see her again. Maybe, she would have forgotten about me too.

    “Days of Being Wild”

    The indecisive warrior

    michelle reis as the killer’s agent in Fallen Angels

    The best thing about my profession is that there’s no need to make any decision. Who’s to die… when… where… it’s all been planned by others. I’m a lazy person. I like people to arrange things for me. That’s why I need a partner.

    “Fallen Angels”

    This last archetype is a more recent innovation in Wong’s films, first seen in “Fallen Angels”. To me it seams, it is a parody of a warrior. The male leads, hit man Wong Zhiming (Leon Lai) and mute 223 (Takeshi Kaneshiro), are both in search of a sense of belonging, but end up in pathological situations where they lose their identity. Zhiming muses that the best thing about his ‘job’ is that he never has to make any decisions of his own, since everything he does has been arranged for him by his partner, the unnamed agent. When he finally does realize that he must take a more active role in the job, he is too late– ironically he is gunned down in an ambush set up by his lovelorn agent.

    Charlie Yeung and Takeshi Kaneshiro in Fallen Angels

    They say that love can change a man. I start to find myself looking better and more charming, and suddenly I discover that I’m turning blonde.

    “Fallen Angels”

    Leon Lai in Fallen Angels

    223 has a similar problem. Creating a state of moral contradiction, 223 breaks into other people’s businesses at night such that he can ‘be his own boss’. However, in actuality, he has merely taken decisions that have been made by others and uses them, instead of making his own. He also hooks up with brokenhearted woman (Charlie Yeung) who is obsessed with getting revenge on a woman named Blondie. Together, they traverse the Hong Kong nightscape in search of Blondie, and in the process, blonde hairs begin to sprout from 223’s head, a metaphor for his adoption of his newfound partner’s system of values.

    Like the impotent lover and the carefree lover, the life of the indecisive warrior is a lonely one. However, unlike the tragic note that Zhiming’s story ends one, 223’s outcome is certainly more upbeat. He ends up being rejected by the jilted woman and learns to make decisions for himself in the process (visually conveyed by his blonde hairs disappearing), the first of which is to give Zhiming’s former agent a ride home on his motorcycle.

    Conclusion

    So instead of being confusing jumbles of abstract dialogue and quirky characterizations, the films of Wong Kar Wai have a consistency in structure and theme. The archetypal characters of Wong Kar Wai’s angst-ridden narratives are classical different perspectives on man and women. While some of these characters do meet tragic ends resulting from their inability to change, the director does provide a glimmer of hope in the characters that do survive the melancholic plot.

  • Jianghu seen as Archetypes defined by C.G. Jung (Magician, King, Lover, Warrior and Hero)

    Jianghu seen as Archetypes defined by C.G. Jung (Magician, King, Lover, Warrior and Hero)

    The Jianghu is the fictional alternative universe coexisting with the actual historical in which many Chinese wuxia stories are set. It seems jianghu, a literary tradition going back to the Ming Dynasty,  can easily be explained  as collective unconscious in which the Chinese universal themes which run through all human life. Inwardly, the whole history of the human race, back to the most primitive times, lives on in us and the wuxia stories are myths bringing the archetypes  of the  collective unconscious. A strong element in the structure of jianghu, is the line between good and evil, right and wrong, is crystal clear; it is absolute, an in this movie you can see the Archetypes of the shadow, animus and anima of the personal unconsciousness. Typically, the heroes in Chinese wuxia fiction do not serve a lord, wield military power or belong to the aristocratic class. The Chinese wuxia stories can be contrasted with martial codes from other countries, such as the Japanese samurai’s bushido tradition, the chivalry of medieval European knights and America’s Western but moral and laws of physics my not apply in this grene.

    One example  is the cult movie Ashes of Time,  Wong Kar-Wai’s wuxiapian is the most uncompromisingly complex film of thinking man’s martial arts melodrama with very little action outlined like a greek tragedy. It features some of the  biggest stars in Hong kong Cinema and Christopher Doyle’s usual magnificent visuals, and William Chang’s predictably sublime art direction,  derived from the two characters  from Lois Chas’s novel The Eagelshooting Heros: Xidu (Emperor of the West) and Dongxie (Emperor of the East).  One is the anti-thesis of the other, they are implemented as the two negative Archetypes Ouyang (The Magicician) and Huang (The Lover).

    Wong’s goal is focusing on the psychological and emotional reasons that brought the characters to the behavior we see in the novel. The most striking example is the principal character Ouyang Feng (Leslie Cheung). In the film he’s still a man who trusts people, and is not completely selfish. His troubled relationship with a woman (the famous Maggie Cheung) shapes his character, and leads to his change to an evil and treacherous man.  The movie took a de-humanized world (where heroism was often more important than sentiments) and injected humanity into it. We’re presented with allegedly invincible characters who turn out to  crumble under the pressure and pain of rejection and memory.

    It’s pointless trying to write about Ashes of Time’s plot, as doing so would be entirely too superficial, and leave out important facets of the story. With a careful eye and a few repeated viewings the film’s story is not so hard to grasp. What’s important is the mood Wong Kar-Wai creates, and the symbols and Archetypes we feel in each and every character. For those who seek metaphors,  the movie presents the eye as well as the illusions of vision. One character is nearly blind. Another, a swordsman, goes blind in the middle of a horrendous battle. Two characters, Yin and Yang—one presented as a man, the other as his sister—are identical. And there is a brief appearance by a legendary sword fighter who hones his skills against his own reflection. Plenty of visual symbolism , from the Yin/Yang character to the motifs of water and the desert landscape. Two women hopelessly in love with the man who pines away for the woman who will never be his (and whom we do not learn about until the very end).

    Ouyang Feng (Leslie Cheung Kwok-Wing) the fallen swordsman commissioning assassins later known as the Poison of the West.The impotent Lover becoming the (cruel) Magician
    Hong Qigong  (Jacky Cheung Hok-Yau) the young idealistic swordsman, going north with his wife The Warrior in its fullness – The Hero
    Murong Yin (Brigitte Lin Ching-Hsia) daughter of Murong clan; Murong Yang the Brother one schyzophrene personBrother want to have Huang killed because of rejection of Murong’s love she his brother Animus and shadow under control of ego
    The Blind Swordsman (Tony Leung Chiu-Wai)
     The (weak) wandering King – Ödipus at Colonos
    Ouyang Feng’s love (Maggie Cheung Man-Yuk) she married his brother, because he asked her too late and waits her whole live for him The Mother Earth – center of the pentagon
    Huang Yoshi (Tony Leung Ka-Fai) adventurous swordsman and longtime friend of Ouyang Feng Huang is a burnt-out womanizer later he will be known as the Evil of the East. The (addicted) Lover
    The girl with the mule (Charlie Young Choi-Nei) The virgin (Maria?)
    Hong Qigong’s wife (Li Bai) The loyal wife
    Blind Swordsman’s wife (Carina Lau) The queen

    Leslie Cheung Kwok-Wing, Maggie Cheung Man-Yuk, Tony Leung Chiu-Wai, Tony Leung Ka-Fai, Brigitte Lin Ching-Hsia, Carina Lau Ka-Ling, Jacky Cheung Hok-Yau, Charlie Young Choi-Nei, Lau Shun

    Occurring over the five months of the Chinese calendar, Ashes of Time spends most of its length with two characters in particular, Ouyang Feng (Leslie Cheung) and Huang Yaoshi (Tony Leung Ka-fai). Old friends who meet once a year to catch up and drink a magic wine, the two serve as the nexus for the film’s overlapping narratives, mired in their own emotional crises.  Ouyang Feng’s  inn is the center of the action, as the stories are told by and about the visitors in the great Chaucerian tradition. Ouyang is morally bankrupt, yet manages to come up with some of the most poetic observations of human nature in his ruthless monologues.The story is not circular, despite the essentially equivalent monologue delivered by the protagonist at both ends of the film.  Ashes of time is a study of personalities and as such follows the convoluted logic of human relationships.  For the first half of the film characters come and go in seemingly pointless chaos. Yet, the travelers at the inn are connected, and their fates intertwined by the simplest passions. In a bizarre twist, one woman is the reason for Feng’s self-imposed hermitage, for he rejected her to marry his older brother even though they had both been in love and connects all main characters.

    Raised by his elder brother, Ouyang’s ambition is to become a famous swordsman  and faced with a choice 10 years earlier between the said woman he loves and martial adventures, he chooses the latter. Ouyang becomes cynical and materialistic,  runs a small inn at the edge of the desert,  commissioning assassins by  hiring young but poor swordsmen. Every year during the season in which peach trees blossom a close friend visits him, Huang Yaoshi. This year Huang brought something for his friend Ouyang, a magical wine that would make one forget the past.

    Huang Yaoshi, has, like Ouyang, also  a sad love story to tell–he once had an unconsummated affair with the wife of his best friend – which turns out the blind swordsman – at Peach Blossom Land. Over the next year, in the different seasons, many travellers pass by the inn each bringing their stories, many of them being about lost love and why would one wish to forget the past.   Ouyang  becomes an assassin contract from the schizophrenic Murong Yang/Murong Yin (Sister and Brother). He meets the down-and-out swordsman with failing eyesight (who turns out to be Huang’s friend who seduced his wife); an impoverished young girl with an mule who wants to avenge her brother’s death; and Hong Qi, another aspiring poor swordsman, and his loyal wife.

    Murong Yin/Yang (Brigitte Lin) at first it appears as if Yin and Yang are brother and sister, the brother wanting to kill the womanizer Huang for rejecting his sister, and the sister wanting to kill her brother for interfering with her relationship. As it turns out, however, Yin-Yang are one and the same physical person, who has developed a severe split personality disorder because of Huang’s rejection of Murong’s love.

    The pentagon.

    The Blind Swordsman (Tony Leung Chiu Wai) also suffers from rejected love, his wife having been seduced by said Huang on their wedding night. He wishes to complete one last job to raise the money to return home to see the “peach blossom,” later revealed to be the name of his wife, before his creeping blindness ensures he can never see her again.

    Carina Lau, playing the Blind Swordsman’s wife is shown wordlessly caressing her horse with such tenderness that the stallion becomes as much a symbol of virility and sexuality, The Blind Swordsman’s last job has him saving a village from a swarm of bandits, and the ensuing bloodbath is more visceral than anything to crop up in the last decade’s boom of arty martial arts films. Yet even that sequence is undercut by Wong’s directorial flourishes, the image bleeding into white when the swordsman looks up and has his already weakened vision bleached out by the sun. The entire scene builds less a sense of heroism than a mounting futility.

    Achetypes

    The other two strangers, Hung Chi (Jacky Cheung) and the Young Girl (Charlie Yeung), arrive separately only to influence each other’s lives profoundly. She wants to hire Feng to arrange the murder of some men, who have killed her brother. She has nothing to offer except eggs and her mule and Feng refuses to help, but suggests that her body is more marketable than her pitiful eggs. She refuses to yield and waits for someone to agree to help her. The young Hung is a master swordsman, but also a bit of an idealist. He works for Feng for a while but eventually takes pity on the girl and goes on a murderous rampage, slaughtering all those who had participated in the killing of her brother. In the brawl he loses his finger and thus the ability to wield a sword. He is undeterred, however, and when Feng refuses to send for a doctor hinting to the Girl again that she might have to prostitute herself for the sake of Hung, he forbids her to do so. He picks up where the Blind Swordsman fails. Where he has spent his entire life counting the money of each job to collect wealth, Hong redeems himself when he helped the poor village girl who paied  him a single chicken egg. The girl, the virgin with the donky leaves without trace. Visually, she is almost like a distorted Eastern Version of the Virgin Mary. She is also the only one not interconnected in the pentagon.  After he recovered Hung, heads with his loyal wife north, leaving Feng in envy of fulfilled love.

    In the books to which Ashes of Time serves as a prequel, the Ouyang and Huang are hard-hearted and violent, Huang someone who still believes in love but can never have it himself, Ouyang a man who rejects love entirely. Ouyang has fled from the woman who loves him, while Huang never follows through with the love he inspires . Maggie Cheung arrives near the end of the film to deliver a devastating monologue to Huang. Ouyang’s ex-lover, Cheung’s character ultimately married the man’s brother because she tired of waiting for Feng to return to her. She clarifies the reasons for Huang and Ouyang’s annual meeting and the woman who links them in pain, and her speech, framed in a simple, wide-angle close-up without trickery that lets all focus rest on her words, speaks directly and piercingly to the pain of unrequited love. When the story comes full circle and the two main characters discover the uselessness  deception of themselves, that the attempt to forget only further ensconces painful remembrances in memory, Cheung’s pain is fully visited upon Ouyang and Huang. Maggie Cheung’s five-minute  are the undisputed centerpiece of the film both in terms of story (she is the one link between most of the characters) and acting. Wai’s camera stares intently at her while she gazes beyond time and relives the past full of regret.

    Maggie is an accomplished actress, but this performance was beyond description.

    Her subtle agony is expressed obliquely and the one has to look into her eyes to touch the intensity of her feeling. Ouyang’s ex-lover, Cheung’s character gives Huang  the wine to forget and  dies soon afterwards. When she dies, the expression is beyond visual. Her body seems to become colder and shrinks, the eyes close, the flower wilds. She dies as there is no reason to live.

    The mesmerizing tale of lost chances, fear of abandoning oneself to another, and pain of betrayal stops by the individuation when Oyuand returns to White Camel Mountain after finding out that his beloved has died. Where in the youth he saw mountains only as obstacles that concealed a wonderful world behind them, where he would climb them, leaving his love to seek this world, where once there he would find that there’s nothing worth seeing; he now no longer wondered what hid behind the mountains. He burns  his inn and moves back later be known of the Poison of the West.

    The cinematography is out of this world. There is so much imagery that repeated viewing is a must. Complicated tracking shots, abrupt editing, impressionistic pastel-like blurred images, and static scenes, all mix together in a veritable whirlpool of technique and ideas. Christopher Doyle is perhaps one of the best, most imaginative, and daring cinematographers out there. Seeing is believing.

    http://www.youtube.com/watch?v=5VZfieiscO4

  • The symbol of serpent and dragon – an Jungian view

    The symbol of serpent and dragon – an Jungian view

    Serpent and dragon

    Everywhere the symbol of the serpent and dragon is connected with the (d)evil. That does hurt me a little bit, as I am Serpent in the Chinese Zodiac – which is the least favored sign. The snake has a bad rap not only according to my wife, but certainly within Christianity. In defense of myself (and the snake), I wanted to look at the snake in symbolic terms, in Jungian terms and to explore this from all possible angles.  In alchemical symbolism dragons are associated with fire and the primal chaotic material. The Western concept of dragons is to portray them as to be feared, and destroyed, whereas in the Near East these negative traits are minimized, Furthermore in the  Far East the dragon possesses different aspects, in that it is simultaneously a creature of water, of earth, of the underworld, and of the sky. A self depicting serpent or dragon eating its own tail ( Ouroboros) is an ancient symbol which is often associated with Gnosticism, and Hermeticism. Carl Jung interpreted the Ouroboros as having an archetypal significance. Jung gave the serpent an important role in his Quaternio Series Diagrams in his book “Aion”.

    The Dragon

    This is one of the most easily recognized mythical beasts. It is also a pervasive symbol in a variety of cultures, giving rise to many interpretations about exactly what a dragon is, what it represents, and how it behaves. It can be associated with good luck, fortune and wisdom, or with bad luck, elemental evil and heresy. Carl Jung would have called the dragon a symbol of the universal unconscious, since so many cultures have myths associated with a dragon, or dragon like beasts.

    The symbol of serpent and dragon

    The dragon is for Carl G. Jung the personification of Sulphur and is by far the male element. Since the dragon is said to impregnate himself by swallowing his tail, then the tail is the male organ and the mouth is the female organ.  The winged dragon represents personal obstacles that must be overcome to insure a more-perfect being; thus, leading to the saying: “You conquer the dragon or he will conquer you.”   We see that Jung did, certainly, inspire awareness of the connections between modern psychology and ancient spiritual practice.  Some credit the Chinese as the inventors of dragon. The origins of dragon lore are a matter of some debate. It is known that at least as far back as 300 BCE, some bones of prehistoric animals were labeled as coming from dragons. In Christianity the dragon is generally a symbol of evil, a demon or the devil. The most famous Christian legend is that of St. George slaying the dragon.

    Much of dragon lore tells us that dragons were loathsome beasts and evil enemies to humankind. But dragons were born of a time other than men, a time of chaos, creation out of destruction. The dragon is a fabulous and universal symbolic figure found in most cultures thought the world.

    Symbology of the dragon:

    Gnostics: “The way through all things.”

    Alchemy: “A winged dragon – the volatile elements; without wings – the fixed elements.”

    Guardian of the ‘Flaming Pearl” symbol of spiritual perfection and powerful amulet of luck.

    Chinese: “The spirit of the way”‘ bringing eternal change.

    In Scripture the term dragon refers to any great monster, whether of the land or sea, usually to some kind of serpent or reptile, sometimes to land serpents of a powerful and deadly kind. It is also applied metaphorically to Satan.

    • Thou breakest the heads of the dragons in the waters. — Ps. lxxiv.13.
    •  Thou shalt tread upon the lion and adder; the young lion and the dragon shalt thou trample under feet. — Ps. xci.13.
    •  He laid hold on the dragon, that old serpent, which is the Devil and Satan, and bound him a thousand years. –Rev. xx. 2.
    •  In the New Testament the word “dragon” is found only in Rev. 12:3, 4, 7, 9, 16, 17, etc., and is there used metaphorically of “Satan.”

    The Serpent

    Aroused snake by the entrance to a Yezidee-temple. It is blackened by soot.
    Aroused snake by the entrance to a Yezidee-temple. It is blackened by soot.

    Of course, everybody knows the Biblical story of the fall of man tells of how Adam and Eve were deceived into disobeying God by a snake (identified as Satan by both Paul and John in II Corinthians and Revelation, respectively). In the story, the snake convinces Eve to eat fruit from the Tree of Knowledge of Good and Evil, which she then convinces Adam to do as well. As a result, God banishes Adam and Eve from the garden and curses the snake

    Dr. Jolande Jacobi signifies in her chapter “The Dream of the Bad Animal” the serpent initial material, in need of transformation, the chthonic, moist element of water, female, standing for unconscious  symbol for many things depending on the context, also wisdom. In the famous Houston Interviews (Bollinger, C.G. Jung Speaking or youtube) he talked about a  28-year-old woman who told Jung that “she had a black serpent in her belly.”  The woman was “only intuitive, entirely without a sense of reality.” Then she announced that the snake, which had been dormant, had suddenly become active. “One day she came and said that the serpent in her belly had moved; it had turned around,” Jung says. “Then the serpent moved slowly upward, coming finally out of her mouth, and she saw that the head was golden” 

    Jung amplifies the image of the snake in the abdomen by reference to the serpent in Kundalini Yoga. “I told you,” Jung says, “the case of that intuitive girl who suddenly came out with the statement that she had a black snake in her belly.” He situates the snake in the context of the collective unconscious. “Well now, that is a collective symbol,” he says. “That is not an individual fantasy, it is a collective fantasy.” The image of the snake in the abdomen, Jung says, “is well known in India.” Although the woman “had nothing to do with India” and although the image “is entirely unknown to us,” he says that “we have it too, for we are all similarly human.” When the woman first told Jung about the snake in her belly, he wondered whether “perhaps she was crazy,” but then he realized that “she was only highly intuitive.” She had intuited a typical, or archetypal, image. “In India,” Jung says, “the serpent is at the basis of a whole philosophical system, of Tantrism; it is Kundalini, the Kundalini serpent” (1977: 322).

    .

    Fighting with them – The Hero Myth

    In the fight with the dragon the hero battles the regressive forces of the unconscious, which threaten to swallow the individuating ego. The forces, personified in figures like Circe, Kali, Medusa, Sea Serpents, Minotaur, or Gorgon, represents the Terrible side of the Great Mother. The Hero may voluntarily submit to being swallowed by the monster, or to a conscious descent into Hades so as to vanquish the forces of darkness. This mortifying descent into the abyss, the sea, the dark cave, or the underworld in order to be reborn to a new identity expresses the symbolism of the night-sea journey through the uterine belly of the monster. It is a fundamental theme in mythology the world over — that of death and rebirth. All initiatory rituals involve this basic archetypal pattern through which the old order and early infantile attachments must die and a more mature and productive life be born in their place.

    The mythological goal of the dragon fight is almost always the virgin, the captive, or more generally, the ‘treasure hard to attain.’ This image of the vulnerable, beautiful, and enchanting woman, guarded by and captive of a menacing monster gives us a picture of the inner core of the personality and its surrounding defenses. The hero’s task is to rescue the maiden from the grasp of the monster and, ultimately, to marry her and establish his kingdom with her. This dragon fight and liberation of the captive is the archetypal pattern that can guide us through those major transitional passages in our personal development where a rebirth or reorientation of consciousness is indicated. The captive represents the ‘new’ element whose liberation makes all further development possible. In response to the call the hero undertakes  a dangerous journey to an unknown region full of both promise and danger.

    Getting there – the night sea journey.

    cropped-spiritualjung.jpg

    The night sea journey is a kind of descensus ad inferos--a descent into Hades and a journey to the land of ghosts somewhere beyond this world, beyond consciousness, hence an immersion in the unconscious [“The Psychology of the Transference,” CW 16, par. 455.]. Mythologically, the night sea journey motif usually involves being swallowed by a dragon or sea monster. It is also represented by imprisonment or crucifixion, dismemberment or abduction, experiences traditionally weathered by sun-gods and heroes: Gilgamesh, Osiris, Christ, Dante, Odysseus, Aeneas.

    In the language of the mystics it is the dark night of the soul.  Sometimes, as with Jonah, Aeneas, Christ, and Psyche, it is a descent into the depths — the sea, the underworld, or Hades itself. Always there is a perilous crossing. Sometimes the faintheartedness of the hero is balanced by the appearance of guardians or helpful animals that enable the hero to perform the superhuman task that cannot be accomplished unaided. These helpful forces are representatives of the psychic totality that supports the ego in its struggle. They bear witness to the fact that the essential function of the hero myth is the development of the individual’s true personality.

    Symbols of Spiritual Growth and Transformation

    Uroboros
    Uroboros

    The Ouroboros, the snake forever swallowing its own tail, is a famous alchemical symbol of transformation. Jung saw the Ouroboros much like he saw the mandala, as an archetypal template of the psyche symbolizing eternity and the law of endless return – and individuation.

    This Ouroboros symbol was first created in 1682. However, the idea of a snake/serpent eating its own tails can be referred to as far back as Ancient Egypt.

    The image, according to Dr. Jolande Jacobi, “shows a sinful world of creation, surrounded by the Serpent of Eternity, the Ouroboros, and characterized by the four elements and the sins corresponding to them; the whole circle relates to the center, the weeping eye of God, i.e., the point where salvation, symbolized by the dove of the Holy Ghost, may be achieved by compassion and love.”

    Ouroboros symbol in Alchemy

    The Uroboros symbol in Alchemy, was also seen as a symbol of assimilation. Consumption of the opposite. This sign was also regarded as a symbol for immortality as the serpent never dies and is always reborn.  The snake is seen as a sacred creature in Africa, especially in West Africa. The Ouroboros symbol is prevalent in many religious aspects in the form of the Oshunmare. The Oshunmare is also seen as a symbol for rebirth.

    Quaternio series: Moses - Shadow - Paradise - Lapis Quaternio
    Quaternio series: Moses – Shadow – Paradise – Lapis Quaternio

    In the Quaternio series; Man culminates in the of a good God, but rests below on a dark and evil principle (Devil or serpent). The serpent has its complement in the Paradise Quaternio which leads into the world of plants and animals. Indeed, this serpent actually dwells in the interior of the earth and is the pneuma that lies hidden in the stone. The point of greatest tension between the opposites…(is)…the double significance of the serpent, which occupies the center of the system. Being an allegory of Christ as well as of the devil, it contains and symbolizes the strongest polarity into which the Anthropos falls when he descends into Physis. Symbols of fear and cunning

    A lack of first hand experience with snakes makes the serpent a creature representing a fear of the unknown. As such, snake symbolize that unknown fear. The fear can be an intuitive warning or an unfounded anxiety about some undefinable, something hidden. Honest analysis provides the key to deciphering the snake symbol. In Christianity, the symbol pertains to Satan and the world we currently live in. It also refers to the men and women of this planet as being self-centered and “fallen”. The whole idea of the serpent itself is that it reflects something that is re-creating itself.  Be wise as serpents … – Serpents have always been an emblem of wisdom and cunning:

    Genesis 3:1. Now the serpent was more crafty than any beast of the field which the LORD God had made. And he said to the woman, “Indeed, has God said, ‘You shall not eat from any tree of the garden’?” 2The woman said to the serpent, “From the fruit of the trees of the garden we may eat; but from the fruit of the tree which is in the middle of the garden, God has said, ‘You shall not eat from it or touch it, or you will die.’” 4The serpent said to the woman, “You surely will not die! 5“For God knows that in the day you eat from it your eyes will be opened, and you will be like God, knowing good and evil.”

    Snakes as Sexual Symbols

    Sexuality greensnake
    Sexuality greensnake

    Snakes are usually symbolizing sex and sexuality. The feelings the snake evokes is key to its interpretation. Feelings of revulsion indicate sexual dissatisfaction.
    The Legend of the White Snake is one of the most famous folk tales in Chinese culture. Legendary actress Brigitte Lin, is a snake spirit who has come into the human world with her sister Green Snake. Human scholar Xu Xian  immediately catches White Snake’s attention from afar, and the two quickly fall in love and get married. However, a Taoist priest sees the two spirit sisters returning to their true self. There is an enigmatic seduction scene in there. Maggie Chung is the lusty maiden & titular character Green Snake, flirting erotically with thrilling, dynamic, not to say with perverse personality. Despite having accumulated 500 years of merit, her ability to remain in human guise is restricted by her delight in her own snakey sensuousness.

    She frequently reverts to her serpent form, in whole or in part. Green Snake in her unrestrained manner finds that she is attracted to the monk, & as White’s Snake disciple, she thinks it only correct that she find a human partner as admirable as Xu Xian has been for White Snake.

    Serpents as Symbols of Wisdom

    The Egyptians used the serpent in their hieroglyphics as a symbol of wisdom. Probably the thing in which Christ directed his followers to imitate the serpent was in its caution in avoiding danger. No animal equals them in the rapidity and skill which they evince in escaping danger. So said Christ to his disciples, You need caution and wisdom in the midst of a world that will seek your lives.

    My Chinese sign of the snake serves as embodiments of intellectual, elegance, wisdom and sensuality, but describes the bearer of the sign also as cold, arrogant and feared by many. For Chinese astrologers, the snake is a revered creature of  intuition, and spiritual development. The very same mystery and elusiveness causing fear in some gives rise to a fascination or intrigue in others. I connect to the sign of the snake as embodiments of elegance, sensuality,  the intuitive, introspective, refined and collected of the Animal Signs.  But am I dark  and  cunning,  plotting and schemes to make certain things turn out exactly as I want them to? I guess that would be similar to the “green snake”,  would be my shadow.

     

  • Leni Riefenstahl und C. G. Jung – Die Macht der Bilder

    Leni Riefenstahl und C. G. Jung – Die Macht der Bilder

    Das Werk des Schweizer Tiefenpsychologen C.G.Jung spielt in der heutigen öffentlichen Diskussion Deutschlands kaum eine Rolle obwohl fast alle Konzepte von ihm selbstverständliche Werkzeuge von Psychologen und Consultants und manche seiner Begriffe Teil der Alltagssprache sind. Ähnlich werden Leni Riefenstahls damals die Zukunft verwegnehmenden, filmischen Konzepte – Die Macht der Bilder – in Film und Kunst routinemässig eingesetzt.  Da ich Jung für den Psychanalytiker des 20. Jahrhunderts halte, der gerade zu Religion und Mythen uns heute noch viel zu sagen hat, ist es für mich notwendig, etwaige Vorwürfe mit dem innersten Kern seines Werkes zu vergleichen. Dabei stiess ich auf Leni Riefenstahl, ähnlich brilliant  und ebenso negiert in Deutschland. Leni Riefenstahl schuf in ihren 101 Jahren ein beeindruckendes Werk aus Filmen und Photos. Sie war gleichzeitig eine der einflussreichsten und eine der umstrittensten Filmschaffenden. Während ihre ästhetischen Ansätze und dokumentarischen Methoden noch heute vielfach imitiert werden, wurde ihr Name gleichbedeutend mit den Gegenständen ihrer Filme: Die Glorifizierung des Nazi-Regimes. .

    Woman in blonde wig (Brigitte Lin)  Somehow I’ve become very cautious. When I put on a raincoat, I put on sunglasses too. Who knows when it will rain, or when it will turn out sunny?

    Oppertunismus und Karriere

    Auf dringende Bitten seiner Kollegen übernahm Jung den Vorsitz der “Ärztlichen Gesellschaft für Psychotherapie”, die einen internationalen Charakter hatte, und nutzte seinen Freiraum als Schweizer, um den internationalen Status und die politische Neutralität der Organisation zu garantieren und brachte auch den Nazis  Missliebige in der internationalen Sektion unter. Es gab also einen internationalen Dachverband mit verschiedenen Ländergruppen. Die offizielle Zeitschrift der internationalen Vereinigung war das “Zentralblatt für Psychotherapie”. Ein Stein des Anstoßes sind einige Formulierungen Jungs aus einem Aufsatz, den er 1934 im “Zentralblatt für Psychotherapie” veröffentlichte.  Probleme entstanden für Jung, als Prof. Göring  (der Vorsitzende der deutschen Ländergruppe) 1934 ein deutsches Beiheft (“Deutsche Seelenheilkunde”) plante, das auch in der regulären Nummer des Zentralblattes erschien, wodurch der Herausgeber Jung unfreiwillig in die Rolle des NS-Befürworters geriet.

    Leni Riefenstahl wird in Peter Wartson’s “German Genius” erwähnt. Leni Riefenstahl zeigte im “Blauen Licht” (1932), ihrer ersten eigenen Produktion, in der sie obendrein – aus Geldmangel – Regie führte was in ihr steckte. Der Film gewann bei der Biennale in Venedig Silber und viele weitere Auszeichnungen. Mit der Machtübernahme boten sich der Riefenstahl neue Aufgaben. Aufgaben, denen sie sich aber nur widerstrebend hingegeben haben will. Da kam der Hitler dazwischen, der Film  “Blauen Licht” und “Der heilige Berg” haben ihm gefallen.  Sie machte Dokumentarfilme, die Meilenstein der Filmästhetik waren, andererseits  perfekte Überhöhungen und Symbolik für das damalige Deutschland und die Nationalsozialisten boten.

    Zeitgeist
    Problematischer Zeit völkerpsychologische Unterscheidungen zwischen “Germanen” und “Juden” erwiesen sich als fatal. Unterscheidungen zwischen der Mentalität verschiedener Völker hatte zwar auch Jung’s Lehrer Sigmund Freud vorgenommen, der etwa seinem Kollegen K. Abraham schrieb, dass dieser aufgrund seiner jüdischen “Rassenverwandtschaft” Freud’s Auffassung von Psychoanalyse näher stünde als Jung. (2) l. So schrieb C.G. Jung in dem Aufsatz “Zur gegenwärtigen Lage der Psychotherapie”, der Jude sei aufgrund seiner langen Leidensgeschichte desillusionierter, habe keine eigene Kulturform und brauche zu seiner Entfaltung “ein mehr oder weniger zivilisiertes Wirtsvolk”. Demgegenüber seien die noch jungen germanischen Völker energiegeladener und enthielten “Spannkräfte und schöpferische Keime von noch zu erfüllender Zukunft.” (3).
    Liest man diese Begriffe ohne den Kontext des Gesamtwerkes, erschrickt man zunächst, aller5dings bewertet Jung keineswegs das “Barbarische” des Germanen pauschal höher gegenüber einem für minderwertig erklärten Judentum. Wenn er vom unterdrückten Barbaren im Deutschen spricht, schwingt immer auch Schrecken und Warnung mit. Schon in seiner Krise 1918 sah er voraus, dass archaische und unterdrückte Regungen gerade auch bei diesem “Kulturvolk” ein besonders gefährliches politisches Potential bilden könnten: “Das Christentum zerteilte den germanischen Barbaren in seine untere und obere Hälfte, und so gelang es ihm – nämlich durch Verdrängung der dunklen Seite – die helle Seite zu domestizieren und für die Kultur geschickt zu machen. Die untere Hälfte aber harrt der Erlösung und einer zweiten Domestikation. Bis dahin bleibt sie assoziiert mit den Resten der Vorzeit, mit dem kollektiven Unbewußten, was eine eigentümliche und steigende Belebung des kollektiven Unbewußten bedeuten muß. Je mehr die unbedingte Autorität der christlichen Weltanschauung sich verliert, desto vernehmlicher wird sich die ‘blonde Bestie’ in ihrem unterirdischen Gefängnis umdrehen und uns mit einem Ausbruch mit verheerenden Folgen bedrohen.” (4)
    Solche Formulierungen werden “(politisch) korrekten” Historikern nicht sonderlich gefallen,  sind aber bedenkenswert, vor allem wenn man sich mit der deutschen Neigung zum Undemokratischen auch mit psychologischen Überlegungen nähern will. Jung wertet die Juden nicht einfach ab, sondern sieht in ihnen ein im Gegensatz zu den Germanen viel älteres und abgeklärteres Kulturvolk, das sich infolge seiner langen Geschichte menschlicher Schwächen bewußter sei. Dies ermögliche ihnen, “mit vollem Bewußtsein in wohlwollender, freundlicher und duldsamer Nachbarschaft ihrer eigenen Untugenden zu leben, während wir noch zu jung sind, um keine ‘Illusionen’ über uns zu haben.” (5) Jung hat – bereits damals für solche Äußerungen angegriffen – seine Aussagen zunächst als legitime “Völkerpsychologie” bezeichnet, die einem Forscher erlaubt sein müsse, um Unterschiede herauszuarbeiten. Er hat ausdrücklich betont, dass es sich dabei nicht um Werturteile handle. Auch die Feststellung von Differenzen zwischen englischer und chinesischer Mentalität seien ja normal und
    schlössen nicht den Respekt vor einer alten Hochkultur aus.  M.L.v.Franz vertritt mit C.G.Jung die These, dass sich, tiefenpsychologisch gesehen, hinter dem Phänomen des Nationalsozialismus ein religiöses Problem verberge. Es gehe um die Erneuerung des Gottesbildes. Das nationalsozialistische Hakenkreuz kann durchaus als der Schatten des christlichen Kreuzes verstanden werden. Auch die DDR (und das heutige Deutschland) kannte und kennt pseudo-religiöse Rituale und die Ausgrenzung – heute als Rassist.
    Doch wäre es berechtigt, die Kapitalismuskritik von Karl Marx als Ganzes zu diffamieren, nur weil er den “Schacher” als das “Wesen des Judentums” bezeichnete oder von den Slawen als “Völkerabfällen” sprach, die vom nächsten Weltkrieg “vernichtet” werden müßten? (8) Jung mußte seinen eigenen Schatten – und die Antipathie zum Freudschen System – abarbeiten. Schon 1936, zwei Jahre nach den oben genannten problematischen Äußerungen, hält C.G. Jung einen Vortrag in London, wo er sich bestürzt über die politische Entwicklung in Deutschland äußert:
    “Wenn vor dreißig Jahren jemand vorauszusagen gewagt hätte, daß die psychologische Entwicklung in Richtung eines Wiedererwachens mittelalterlicher Judenverfolgung gehen, daß Europa erneut vor den römischen Liktorenbündeln und unter dem Marschtritt der Legionen erzittern würde … und daß statt des christlichen Kreuzes eine archaische Swastika Millionen von Kriegern zu Todesbereitschaft anködern würde – man hätte diesen Mann als einen mystischen Narren verschrien. Und heute? So bestürzend es erscheinen mag, dieser ganze Wahnsinn ist gräßliche Wirklichkeit.” (9)

    1933-1936 Bilder und Mythen
    Nach der Machtergreifung holte Propaganda Minister Göbbels alle Filmemache zu sich und zeigte Ihnen den Film von Eisenstein, ” Panzerkreuzer Potkim” – so wollte er Filmkunst gestalten – Kunst mit(unauffälliger) Propaganda und mit Dokumentationen.  Leni Riefenstahl  war damals eine wenig bekannte Schauspielerin aus Weimar, die sich als Regisseur gerade  selbst neu erfand.  Sie machte 1934 “Triumph des Willens” – der Nürnberger Parteitag der NSDAP, die Ankunft Hitlers und seiner Helfer.  Bewegte Kamera, wechselnde Perspektiven, souveräne Montagetechnik. „Triumph des Willens“ wurde durch Hitler selbst in Auftrag gegeben,  der sie sehr zum Unmut von Göbbels direkt protegierte (sie belegte zeitweise sein ganzen Kameras). Der Film fing die erste Parteiversammlung in Nürnberg mit 16 Kameras ein.  Nach zwei Jahren schneiden kam ein Film mit durchschlagendem Effekt heraus. Noch cleverer war „Olympia“ der die Spiele 1936 aufnahm. Ihr Ziel war – wieder mit hohem technischem Aufwand (89 Kameraleuten)  und einer heute kaum mehr erreichten Astethik – „ennobled good losers, supreme winners, and endwelled on fine musculature particularly of Jesse Owns … to Hitlers extreme displeasure.“

    Ebenfall 1936 (dem Jahr des Olympia Dokumentarfilms von Leni Riefenstahl) erscheint Jung’s berühmter “Wotan”-Aufsatz, der vom Aufbrechen eines “furor teutonicus” unter der dünnen Schicht christlich-aufgeklärter Kultur spricht und Deutschland als “geistiges Katastrophenland” bezeichnet, wo die Menschen eher von etwas “ergriffen” werden statt es zu “begreifen” (10). Alle von Jung’s folgenden Äußerungen zum Nationalsozialismus umkreisen von nun an die Frage, wie es ausgerechnet in einem hochentwickelten Kulturland zu einem solchen Verhängnis kommen konnte und aktualisieren seine Einsicht von der Notwendigkeit, sich intensiver mit den archaischen Regungen unterhalb der Zivilisationsoberfläche auseinander zusetzen. Was ihn einmal partiell fasziniert hatte – die euphorische Aufbruchsstimmung zu Beginn des Dritten Reiches – führt jetzt nicht nur zu Bestürzung und Ohnmacht, sondern zu tieferen Geschichtsanalysen, um einer bis heute kaum verstandenen Dynamik auf die Spur zu kommen. Dabei gibt es im Denkansatz übrigens Parallelen zur Frankfurter Schule, die ebenfalls im Nationalsozialismus eine nicht für möglich gehaltene Wiederkehr des Mythischen in “aufgeklärter Zeit” erblickten.(11) Jung findet seine alte Forschungshypothese bestätigt, daß Archetypen, kollektive Verhaltensmuster und archaische Bildwelten bewußt durchgearbeitet statt verdrängt oder unbewußt ausgelebt werden müßten. Nicht nur in Deutschland, sondern in ganz Europa sieht er das Phänomen der “Dissoziation” vor sich: eine Spaltung der Kultur in einen rational-fortschrittlichen Teil, der glaubt, “primitive Stufen” überwunden zu haben, während diese in Wirklichkeit verdrängt worden seien. Denn gerade das, was Christentum und Aufklärung verhindern wollten, geschah trotzdem: Kollektivrausch statt individueller Freiheit, Blutmystik statt Verstandesklarheit, Kriegerkult statt Pazifismus, Anbetung von archaischen Symbolen statt christlicher Werte von Mitleid und Versöhnung. Interessant und bis heute zu wenig bedacht sind Jung’s auf Gesamteuropa ausgedehnte Schlußfolgerungen, zu denen er seine Analyse des Nationalsozialismus erweitert: Auch die Inquisition, die Hexenverfolgung, kolonisatorische Raubzüge des “weissen Mannes”, blutige Revolutionen oder das Vernichtungspotential der Atombombe seien letztlich Folgen einer “schizophrenen” europäischen Kulturentwicklung, die vorgab, mittelalterliche “Primitivität” überwunden zu haben, um in noch barbarischere Exzesse zurückzufallen.(12) Eine wichtige und bestürzende Erkenntnis, die – wie wir im Hass auf alles religiöse sehen – auch heute noch kritisches Potential in sich birgt.

    Leni Riefenstahl bezeichnet sich als politisch nicht interessiert. Sie habe sich daher überfordert gefühlt von Hitlers Wunsch, dass sie den Parteifilm machen müsse. Doch hat sie, intuitiv oder geplant, Ablauf und Symbolik der Aufmärsche sofort erfasst – und filmisch überhöht. Sieht man “Tiumph des Willens”, scheint das also ein korrekte Analyse. Auch im Film “Triumph des Willens” ist ja nichts gestellt. Leni Riefenstah: “Das ist ein Zeitdokument. Das haben auch die Richter bei den Entnazifizierungen so gesehen. Es ist ein Zeitdokument. Ob es der Arbeitsdienst ist, oder ob es der Vorbeimarsch ist, oder die Jugend, vor der Hitler eine Rede hält. Das war damals so. Und damals waren die Leute, und nicht nur die Deutschen, auch die Ausländer, fasziniert. Und glauben Sie, dass der “Triumph des Willens” von Frankreich eine Goldmedaille bekommen hätte, kurz vor dem Ausbruch des Krieges, wenn sie den als Propagandafilm gesehen hätten, vorm Krieg, die Franzosen?”.

    Nach dem Krieg
    In einem 1946 geführten Gespräch mit dem Rabbiner und Auschwitz-Überlebenden Leo Baeck hat Jung Fehler eingestanden und sich entschuldigt, was zu einer Versöhnung zwischen den beiden führte. Der Kabbala-Spezialist Gershom Sholem berichtete diese Begebenheit, die für ihn ausschlaggebend war,weitere Einladungen Jung’s zu dessen Eranos-Tagungen anzunehmen. (13) Interessant ist diesbezüglich vor allem die Tatsache, daß sich jüdisch-amerikanische Gelehrte und Psychotherapeuten viel intensiver mit diesem Problem befaßten als ihre deutschen Kollegen. So gab es 1989 in New York eine wissenschaftliche Tagung (“Lingering Shadows”), die sich ausschließlich mit den Antisemitismusvorwürfen gegenüber Jung beschäftigte.(14) Hierbei wurde nicht mit Kritik gespart, doch ohne zu pauschalieren. Vor allem wurde auf das gespannte Verhältnis von Jung zu seinem jüdischen Lehrer Freud hingewiesen, das zu einigen überspitzten Verallgemeinerungen in dem oben genannten Aufsatz führte. Freud und Jung – anfangs auch eine Vater-Sohn-Beziehung – entzweiten sich unter Streit und Schmerzen, als die Unterschiede in ihrer Beurteilung der spirituellen Dimension der Seele zu eklatant wurden. Während Freud in der Religion nur unbewältigte Vaterproblematik, Aberglauben und Projektion erblickte, waren mythische Bilder und Gottsuche für Jung elementare Bedürfnisse des Menschen, sich mit verborgenen und transzendenten Kräften auseinander zusetzen. Er sah in Freud den Prototyp des säkularisierten Juden, der alle Spiritualität zugunsten eines “modernen” naturwissenschaftlichen Erkenntnisideals verleugnete und übertrug diese Meinung voreilig auf das gesamte Judentum.

    Leni Riefenstahl stieß als Fotografin nach dem Krieg rasch in die Weltspitze vor. Bildberichte über ihre Aufenthalte bei den Nuba erschienen zuerst in den Zeitschriften »Stern«, »The Sunday Times Magazine«,»Paris Match«, »L’Europeo«,»Newsweek« und »The Sun«. Vor allem ihre Bildbände »Die Nuba« und »Die Nuba von Kau« brachten ihr weitere Ehrungen und Auszeichnungen ein. Im Alter von 71 Jahren besucht  Leni Riefenstahl  einen Tauchkurs, um künftig auch als Unterwasser-Fotografin arbeiten zu können. Bald schon erwies sie sich auch in diesem Metier als Meisterin. Nochmal Leni Riefenstahl: “Insofern fühl ich mich schuldig, dass ich am Anfang, in den ersten Jahren so fasziniert war weil Hitler sein Versprechen gehalten hatte die Arbeitslosen wegzufischen und die ganze Not aus Deutschland zu verbannen. Aber ich hätte ja ebenso wie die anderen auch sehen müssen, dass man nicht in jüdischen Geschäften einkaufen durfte, sollte. Ich habe gekauft in jüdischen Geschäften aber es war an sich nicht erwünscht. Das alleine hätte mir zu denken geben müssen und das kann ich nicht verstehen heute, dass das nicht der Fall war. Ich war eben mit angesteckt von der ganzen fast hysterischen Begeisterung, die damals war.” Ich habe einmal eine Schauspielerin kennengelernt. die in dieser Zeit jung und produktiv waren. Vor diesem Hintergrund klingt das – für mich – plausibel- naiv .

    Gottesbilder und  atheistischen Utopien
    J. Marvin Spiegelman’s “Judaism and Jungian Psychology” (1993) weist daraufhin, daß gerade nach dem Zerfall der marxistisch-atheistischen Utopien in aller Welt Fragen nach religiösen Wurzeln und Identitäten wieder neubelebt würden. (16) Die spirituellen Bedürfnisse der Seele seien mehr als bloßes “Wunschdenken”.
    Tiefgreifende Lebensereignisse wie Tod, Verlust, Liebe, Krise und Verwandlung wollten auch bildhaftrituell erlebt werden. Gerade die Beschäftigung mit Jung habe Spiegelman auch wieder zu den eigenen religiösen Texten geführt und – etwa durch die Lektüre von dessen berühmter “Hiob” – Interpretation – zu einem vertieften Verstehen des jüdischen Gottesbegriffes.(19) Diesen wichtigen Essay von Jung ignoriert z.B. auch Richard Noll, der 1993 versuchte, dessen Psychologie als eine Art völkischer Ersatzreligion zu entlarven. (20) War Jahwe für Jung vielleicht anfangs noch eine einseitig strafende und überdimensionale Vaterfigur, so wird ihm 1952 durch die Lektüre der alttestamentarischen “Hiob”-Geschichte eine größere Vielschichtigkeit im Verhältnis von Jahwe zu den Menschen klar. (21) . Jung’s “Hiob”-Lektüre wird eine intensive Begegnung mit jüdischer Religion, aber er versucht auch, die Kontinuität innerhalb der Bibel zu verstehen, ohne das Alte gegenüber dem Neuen Testament abzuwerten. Im Gegenteil: Die Figur des Jesus Christus scheint ihm noch als zusätzliche Erfahrungsstufe Jahwes Sinn zu machen, aber als Jung bei der Johannes-Offenbarung ankommt, hat man den Eindruck, daß er die komplexe Figur des jüdischen Gottes doch seinem einseitig “guten” christlichen Pendant vorzieht. Er sieht sogar eine Gefahr darin, daß sich das Christentum hier zu einem schroff dualistischen Denken verengt, welches das “Böse” als “Satan” abspaltet und glaubt, es durch Verbannung aus der Welt schaffen zu können. Dies sei unrealistisches Wunschdenken, widerspräche der Realität der menschlichen Psyche und berge in sich die Anlage für zukünftige Katastrophen:  “Als Ganzheit ist das Selbst … immer eine complexio oppositorum, und seine Erscheinungsweise ist umso dunkler und drohender, je mehr das Bewußtsein sich Lichtnatur vindiziert und daher auf moralische Autorität Anspruch erhebt.” (22)

    Gut und Böse und Leni Riefenstahl
    Gerade die Lektüre von Jung’s “Hiob” eröffnet auch ein tieferes Verständnis der Problematik des “Bösen”: Nur wer lerne, in sich das gegensätzliche Nebeneinander von “Licht” und “Dunkel” zu akzeptieren, könne letztlich auch der Erfahrung des Göttlichen eine angemessene Heimstatt bieten. (23) Übertragen auf den Nationalsozialismus könnte das heißen: Der, der die Möglichkeit der eigenen Verfehlung für denkbar hält, ist gefeiter gegen ideologische Verführung und dualistisches Feindbilddenken, weil dieses ja stets die eigenen Schatten nach außen projiziert.  Was hat uns die Jung’sche Psychologie darüber hinaus heute noch zu sagen?  Jung’s Archetypenlehre wird manchmal vorgeworfen worden, reaktionär zu sein, weil sie unbeweisbare “Urbilder” oder “ewige Grundmuster” statuiere und damit den Menschen zur unfreien Marionette gegenüber statischen Kräften mache. Doch eigentlich ist das Gegenteil der Fall: Jung wiederholt in seinem gesamten Werk immer wieder die Forderung, unbewußte Verhaltensmuster und suggestive Bilder ins Bewußtsein zu heben, um den Menschen einen freien Umgang mit ihnen zu ermöglichen.

    Im Nationalsozialismus und mit Riefenstahl-Filmen geschah genau das Umgekehrte. Die Menschen gerieten in einen Rausch und überließen sich unbewußt atavistischen Strömungen und Symbolen, wurden von etwas “ergriffen” statt es zu “begreifen”. Sie traten nicht in ein kritisches oder befragendes Verhältnis zu archaischen Inhalten, sondern verfielen ihnen in blinder Hörigkeit. Ein Beispiel  wie mächtig Bilder sind, zeigte der Film “Triumph des Willens” eine Auftragsarbeit für die NSDAP von einer offensichtlich intelligenten jungen Frau und brillianten Künstlerin, die sich mit kulturlosen Halsabschneidern einliess. Es liegt im Wesen des Films (und von Bildern), dass die Umstände seiner Entstehung verblassen. Riefenstahls Werke sind dabei, etwas zu werden wie Jungs Werke, dem man das Leben und Leiden, das sich um ihn herum abspielte, nicht mehr ansieht. Es bleibt nur noch das Bild – und so wird es den Riefenstahl-Filmen auch ergehen. Der Werbefilm ist zu weiten Teilen von Riefenstahl beeinflusst, was sich im Mystifizieren und Dramatisieren von Dingen zeigt, sei es ein Trainingsschuh oder ein Auto. Extreme Kamerawinkel, Kreisfahrten, Auflösungen, Schnitttechniken – was sie erfunden hat, wenden die Werberegisseure heute alle an, vom Nike-Spot bis zu MTV. Die “Krieg der Sterne”-Trilogie enthält Anleihen bei Riefenstahl; der Helm von Darth Vader sieht aus wie von der Wehrmacht ausgeliehen, und die Klonkrieger in der neusten Folge marschieren wie bei Truppen beim Parteitag. Ohne Standpunkt (“gut” oder “böse§ kann man keine realen Alltagssituationen dokumentieren, keine Figuren entwickeln und keine Geschichten erzählen. Um die Inschrift zu paraphrasieren, die C.G. Jung auf seinen Grabstein setzen ließ: „Ob gerufen oder nicht, Gott wird da sein.“ Es liegt nahe, daß große Bilder eine große Ausstrahlung haben. Auch heute ist diese Problematik trotz aller “Aufklärung” nicht aus der Welt.  Aber “Vielleicht bedeutet die Kunst gar nichts, hat gar keinen Sinn, wenigstens so wie wir vom Sinn sprechen.” (23)

    Zusammenfassung
    Jung fordert keine nostalgische Aufwärmung alter Mythen, sondern eine neue Theorie symbolischen Denkens – sein Horizont ist jedoch  weiter als der von seelisch verarmten Rationalisten aber auch von denen dem Unbewussten mit Bildern huldigen, weil er die menschliche Sehnsucht nach Mythen und Bildern nicht nur verdammt, sondern ernstnimmt, aber ihre bewußte Durchdringung fordert.  Im Gegensatz ging Leni Riefenstahl im Sog der Symbole  unter.  Dass nach wie vor viele Menschen mythischen Bildern erliegen, die in Gewalt und Abhängigkeit münden können, beweisen problematische Kino- und Videofilme, politische Korrektheit, religiöser, anti-religiöser und anti-westlicher Fundamentalismus , rechte und linke Ausgrenzungswahn, ja  auch die Wiederkehr von pseudo-religöser Symbolik in der Politik.

    1) Aniela Jaffé: Aus Leben und Werkstatt von C.G.Jung, Zürich und Stuttgart 1968, 89f
    2) Ebd. 95
    3) C.G. Jung, Gesammelte Werke, Band 10, Solothurn und Düsseldorf 1995, 190f
    4) Ebd. 25
    5) Ebd. 190
    6) Ebd. 106, Jung spricht hier sogar vom “arischen Raubvogel” und seiner “unersättlichen Beutegier”, die ihn “über alle ihn nichts
    angehenden Länder führt” sowie von unserem “Größenwahn, der sich zum Beispiel einbildet, das Christentum sei die einzige
    Wahrheit, der weiße Christus der einzige Erlöser.”
    7) Ebd. 61f
    8) Karl Marx: “Zur Judenfrage”, MEW Bd.1, 376f und “Neue Rheinische Zeitung” 1849, zitiert in Konrad Löw: Das Rotbuch der
    kommunistischen Ideologie, München 1999, 74f. (Diese Stelle ist in der Marx-Engels-Gesamtausgabe nicht enthalten)
    9) Jung, Gesammelte Werke, Bd.9/1, 60f
    10) Jung, Gesammelte Werke, Bd.10, 203ff
    11) Max Horkheimer/ Theodor W. Adorno: Dialektik der Aufklärung, Philosophische Fragmente, Frankfurt/Main 1973
    12) Jung, Gesammelte Werke Bd. 10, 221f, 237f, 268ff, 273,
    13) Aniela Jaffé: a.a.O. 103f
    14) Aryan Maidenbaum/ Stephen A. Martin (Hg.): Lingering Shadows: Jungians, Freudians and Anti-Semitism, Boston/ London
    1991
    15) Ebd. 277ff
    16) J. Marvin Spiegelman: Judaism and Jungian Psychology, Boston/ London 1993, 21f
    17) Ebd. 47
    18) Ebd. 25f, 40
    19) Ebd. 56ff
    20) In seinem Buch “The Jung Cult. Origins of a Charismatic Movement” (Princeton 1994) versucht Richard Noll in reiner Konzentration auf das Frühwerk und auch dort vereinfachend nachzuweisen, daß Jung aus Aversion gegen das “Semitische” nur die “arisch-indoeuropäischen” Mythen interessiert hätten. Doch kommen in dessen frühen Schriften auch Symbole und
    Göttervorstellungen aus Ägypten und Asien vor. Ein paar Bemerkungen über “Siegfried”, “Walhall” und die “Walküren” sowie reale bzw. vermutete Bekanntschaften mit völkischen Autoren reichen noch nicht aus, um aus Jung einen völkisch orientierten Germanenmystiker á la Guido von List zu machen.
    21) C.G. Jung, Gesammelte Werke, Bd. 11, 363ff, siehe auch Micha Brumlik: C.G.Jung. Zur Einführung, Hamburg 1993, 110 ff
    22) C.G. Jung, Ges. Werke, Bd 11, 445

    23) C.G. Jung, Ges. Werke, Bd 15, 49/50

    24) C.G. Jung, Kommentar zu Richard Willhelm, das Geheimnis der Goldenen Blüte

    Leni Riefenstahl..