International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-7, Issue-6S5, April 2019 Trans-Cultural Anima, Animus, Shadow and Self : Carl Jung as Structuralist-Poststructuralist Continuum Nipun Chaudhary Abstract:Concepts are language at its most divorced from what Revised Manuscript Received on December 22, 2018 Jung regarded as the innate creativity of the unconscious at the Nipun Chaudhary, Assistant Professor, Dept. of English, Lovely heart of being. So, conceptual language is, on the one hand, Professional University, Punjab, [email protected] necessary because rationality is a necessary part of subjectivity and Jung followed through the implications of this founding an important cultural activity. On the other hand, Jung’s concepts principle in his own work: it thereby generates the other core are to be regarded as provisional constructs. They do not provide characteristics of Jungian literary theory. If the function of the fixed rules about the way the psyche behaves. For, there is an unconscious is to challenge and subvert forms of knowing, important sense in which Jung should be regarded as both a then his own psychology is also subject to it. So he admits structuralism and a poststructuralist. Perhaps more accurately we that his own theory, that he named analytical psychology to see that he has been read both ways by literary criticism, so distinguish it from Freudian psychoanalysis, is a provisional, producing these critical alternatives. Hybridization, like contingent and historically located entity. In fact, forms of authenticity, is incomprehensibly without a notion of cultural purity. Whether it is authenticity or Creolization, both attribute the psychology are fatally liable to be conditioned by the significance of cultural elements to national derivation: where a personality of their founder: Jungian psychology is, at least in thing has an existence from its actual meaning. So consider Jung, part, a derivative of Jung’s own psychology. Consequently with his psyche polarized between centralizing archetypal there is a third principle germane to Jungian literary theory dynamism and centrifugal manifestations of archetypal images as after the radical effects of the unknown unconscious and the they are contingent upon cultural difference. Could it be that Jung personal quality of theorizing. It is that the psyche is provides something similar to the psyche posited by such theories inescapably a cultural organ, contingent on its history and of discourse? By a re-evaluation of a thinker devoted to healing cultural context. Whether or not, psyche has innate structuring modernity, Jungian literary theory offers the creative imagination principles, is one of the provisional arguments that Jung as the source of new critical approaches, a new treatment of texts. Tradition has an ontological existence, not in the past but in the makes, subject like all else to the unknowable effects of the present, where it affects people’s images and their behavior unconscious. However it is undeniable that an individual towards their own self. It shows the relation between the concepts psyche exists in time and space and is saturated with history. and categories in a subject area or domain. While analyzing It follows that a work of art for Jung is a kind of condensed Hybridization an important research gap of lack of visibly precise material moment in which a culture is thinking consciously and homogenized variables and a necessity of instructive analysis and unconsciously, together. which is based on an appropriate hypothesis with huge amount of The framework described so far has consequences for cumulative sets of data can be acknowledged. Another important attitudes to language, with two further principles for Jungian factor which is analyzed through this article is the importance of literary theory. Although Jungian psychology is known by its new media practices especially in the light of changes in Arabic and African countries where institutional and social changes are concepts, such as the collective unconscious, archetypes, taking place. individuation, shadow, anima, animus, Jung is insistent that all conceptual language is profoundly inauthentic. Concepts, with their bright clarity and certainty, are the kind of language Index Terms: Carl Jung, Archetypes, Ontology, Hybridization, made by the ego when it is basing its existence upon reason. It Creolization is therefore language and thinking most subject to subversion by the unknowable effects of the unconscious. Concepts are I.INTRODUCTION language at its most divorced from what Jung regarded as the innate creativity of the unconscious at the heart of being. So, The absence of the concept of natural communication makes conceptual language is, on one hand, necessary because the process of language learning complicated as compare to rationality is a necessary part of subjectivity and an important language acquisition in mother tongue. ‘Direct instruction in cultural activity. On the other hand, Jung’s concepts are to be the rules of language’ to students is the last nail on the tomb. regarded as provisional constructs. They do not provide fixed Producing the correct linguistic response to a stimulus (a rules about the way the psyche behaves. thing that arouses activity or energy in someone or Jungian literary theory, then, draws on principles foundational something) requires efforts. If the learner is not called upon to to Jung. To recap, these are: the absence of a unifying make this effort there is no learning. Structuralists believe in principle for disciplines with the challenging exception of the the pattern of practice. Cognitivists believe that when child is founding presence/absence of ready to learn then he can be taught. the unknowable unconscious, Published By: Blue Eyes Intelligence Engineering Retrieval Number:F10860476S519/19 BEIESP 494 © & Sciences Publication Trans-cultural anima, animus, shadow and self: Carl Jung as Structuralist-Poststructuralist continuum the provisional personal quality of theorizing (so grand ideas about art as merely one tool to consider the mystery of narratives can never be absolute), the culturally situated the other that is the art object. As a materialization of culture psyche, and the in authenticity of conceptual language against rooted in the unknowable effects of the unconscious, a work of art for Jungian literary theory should be enabled to participate in the making of consciousness. In practice, the theory provides a frame what is not yet known in the text. First of all we need to look at Jung’s four key ideas on art for the imaginative qualities of myth. Such an approach to Jung their ability to offer a focus for criticism. In the 1922 lecture now needs to be set in a wider context to account for the Jung set out a distinction between signs and symbols that different trajectories of Jungian literary theory and traditional again illustrates his double position on the structuralist- Jungian criticism. For, there is an important sense in which poststructuralist continuum. Where signs point to what is Jung should be regarded as both a structuralist and a known and conscious in a culture, symbols denote the largely poststructuralist. Perhaps more accurately we see that he has unknown domain of the creative unconscious, pregnant with been read both ways by literary criticism, so producing these the future. Hence a second notion of two broad categories of critical alternatives. Jungian literary theory reads Jung as a art: psychological works are mainly formed by signs and poststructuralist by taking the principles hitherto described as reflect a cultural collective consciousness, (Jung’s name for the parameters of his thinking. As a poststructuralist, Jung conventional norms). Conversely visionary art is largely made uses concepts and structures pragmatically, as adaptable tools up of symbols pointing to what is not yet known and perhaps for practice rather than as a means to universal truths about can never be fully known in an individual and his culture. culture. Structuring concepts are conceived playfully as Visionary art is the child of the collective unconscious[1]. provisional constructs that can give (as in the play of a rope), All art is, of course, collective, in the first place because the so the emphasis shifts to responding to specific situations and artist’s and audience’s psyche is culturally contingent. histories. Additionally, art is collective because Jung posited that the Traditional Jungian criticism reads Jung as a structuralist and human psyche is repository of a common inheritance of tends to prioritize his description of concepts over the radical structuring archetypes. These will perform a dialogue with nature of his founding unconscious. For example, in the key consciousness and culture to manifest culturally colored concept of the ‘collective unconscious’, Jung suggested a archetypal images. Art is collective to cultural consciousness common biological inheritance of structuring potentials for or cultural unconsciousness or, more likely, is a tapestry of images and meaning called ‘archetypes’. He further posited both. So, a third key idea of art is cultural compensation. that the collective unconscious functioned as compensatory to Compensation occurs when visionary art is made up of the personal and cultural biases of the ego in a lifelong archetypal images: this act as symbols denoting what is development narrative that he called ‘individuation’. unrealized in the surface