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      『한 여름 밤의 꿈』: 적극적 상상력을 통한 개체화의 실현 = Individuation through Active Imagination in A Midsummer Night's Dream

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      https://www.riss.kr/link?id=A76389779

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      다국어 초록 (Multilingual Abstract)

      This paper examines the ways in which Bottom in A Midsummer Night's Dream experiences C. G. Jung's individuation, especially through the active imagination. This means to become one's own self or to accomplish selfhood or self-realization. To do this, one experiences and follows three stages: the meeting of the one's shadow, the recognition of the syzygy or animus and anima, and the representation of the archetype of the spirit in the shape of the Old Wise man or the Great Mother in the conscious.
      According to C. G. Jung, active imagination is needed in this third stage for the psychological analytical treatment. It is a process in which the gap between conscious and unconscious is narrowed deliberately until the new and constructive contents of the latter can flow over into the fanner by intensive concentration.
      Just as the Old Wise Man comes out of Jung's active imagination, so spirits or fairies in A Midsummer Night's Dream come out of Theseus' strong imagination or Bottom's bottomless imagination. Spirits appear when the characters cannot accomplish their task for themselves. Therefore, the spirit or fairy is a kind of expression needed to compensate for the deficiency, which comes in the form of a personified thought or in the shape of this sagacious and helpful old man through active imagination. In order for characters to be reunited, the unity and concord of the spirits are a prerequisite because the spirits are the reflectors of the human psyche. The unity of the spirits is expressed by their dance, 'roundrel,' which is equivalent to Jung's mandala, the completion of the Individuation. The harmony between spirits and human beings causes Bottom to contact and fall in love with Titania. By meeting Titania, Bottom temporarily experiences a spiritual vision or self-realization and individuation through his strong imagination. This is not only Shakespeare's theatrical world of unity but also Jung's individuation and wholeness which he had been in pursuit of through his life.
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      This paper examines the ways in which Bottom in A Midsummer Night's Dream experiences C. G. Jung's individuation, especially through the active imagination. This means to become one's own self or to accomplish selfhood or self-realization. To do this,...

      This paper examines the ways in which Bottom in A Midsummer Night's Dream experiences C. G. Jung's individuation, especially through the active imagination. This means to become one's own self or to accomplish selfhood or self-realization. To do this, one experiences and follows three stages: the meeting of the one's shadow, the recognition of the syzygy or animus and anima, and the representation of the archetype of the spirit in the shape of the Old Wise man or the Great Mother in the conscious.
      According to C. G. Jung, active imagination is needed in this third stage for the psychological analytical treatment. It is a process in which the gap between conscious and unconscious is narrowed deliberately until the new and constructive contents of the latter can flow over into the fanner by intensive concentration.
      Just as the Old Wise Man comes out of Jung's active imagination, so spirits or fairies in A Midsummer Night's Dream come out of Theseus' strong imagination or Bottom's bottomless imagination. Spirits appear when the characters cannot accomplish their task for themselves. Therefore, the spirit or fairy is a kind of expression needed to compensate for the deficiency, which comes in the form of a personified thought or in the shape of this sagacious and helpful old man through active imagination. In order for characters to be reunited, the unity and concord of the spirits are a prerequisite because the spirits are the reflectors of the human psyche. The unity of the spirits is expressed by their dance, 'roundrel,' which is equivalent to Jung's mandala, the completion of the Individuation. The harmony between spirits and human beings causes Bottom to contact and fall in love with Titania. By meeting Titania, Bottom temporarily experiences a spiritual vision or self-realization and individuation through his strong imagination. This is not only Shakespeare's theatrical world of unity but also Jung's individuation and wholeness which he had been in pursuit of through his life.

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      목차 (Table of Contents)

      • 1. 서론
      • 2. 적극적 상상력과 만달라
      • 3. 보텀(Bottom)과 자기실현
      • 4. 결론
      • 인용문헌
      • 1. 서론
      • 2. 적극적 상상력과 만달라
      • 3. 보텀(Bottom)과 자기실현
      • 4. 결론
      • 인용문헌
      • Abstract
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      참고문헌 (Reference)

      1 "“The Meaning of Shakespeare" 412-15, 1984

      2 "“Regeneration and Reconciliation in A Midsummer Night’s Dream” Shakespearean Criticism 3" 468-74, 1984

      3 "“Comic Characters of Shakespeare" 406-8, 1984

      4 "Two Essays on Analytical Psychology 7 of The Collected Works" Princeton UP 20 s : 1966

      5 "The Structure and Dynamics of the Psyche 8 of The Collected Works" 20 s : 1968

      6 "The Development of Personality 17 of The Collected Works" 20 s : 1968

      7 "Symbols of Transformation 5 of The Collected Works" 20 s : 1968

      8 "Shakespeare and the Tradition of Comedy" Cambridge UP 1974

      9 "Shakespeare and the Dance" Macmillan 1981

      10 "Researches into the Phenomenology of the Self 9 of The Collected Works" 20 s : 1968

      1 "“The Meaning of Shakespeare" 412-15, 1984

      2 "“Regeneration and Reconciliation in A Midsummer Night’s Dream” Shakespearean Criticism 3" 468-74, 1984

      3 "“Comic Characters of Shakespeare" 406-8, 1984

      4 "Two Essays on Analytical Psychology 7 of The Collected Works" Princeton UP 20 s : 1966

      5 "The Structure and Dynamics of the Psyche 8 of The Collected Works" 20 s : 1968

      6 "The Development of Personality 17 of The Collected Works" 20 s : 1968

      7 "Symbols of Transformation 5 of The Collected Works" 20 s : 1968

      8 "Shakespeare and the Tradition of Comedy" Cambridge UP 1974

      9 "Shakespeare and the Dance" Macmillan 1981

      10 "Researches into the Phenomenology of the Self 9 of The Collected Works" 20 s : 1968

      11 "Myth and Ritual in Shakespeare: A Midsummer Night’s Dream, William Shakespeare’s A Midsummer Night’s Dream" New York: Chelsea House 15-36, 1998

      12 "Faith and Folly in Shakespeare’s Romantic Comedies U of George P" 1980

      13 "Characters of Shakespeare’s Plays and Lectures on the English Poets" Macmillan 1903

      14 "9 of The Collected Works" Princeton UP 20 s : 1968

      15 "6 of The Collected Works" 20 s : 1968

      16 "12 of The Collected Works" 20 s : 1968

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-01-31 학회명변경 영문명 : British And American Language And Literature Association Of Korea -> The British and American Language and Literature Association of Korea KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2013-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2010-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2008-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2005-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2004-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2002-07-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.21 0.21 0.15
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.15 0.14 0.414 0.14
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