Introduction to the Puer/Puella Archetype

GEORGE H. JENSEN

The psychological context of dream contents consists in the web

of associations in which the dream is naturally embedded. . . .
[C]areful analysis will never rely too much on technical rules; the
danger of deception and suggestion is too great. In the analysis
of isolated dreams above all, this kind of knowing in advance
and making assumptions on the grounds of practical expectation
or general probability is positively wrong. It should therefore be
an absolute rule to assume that every dream, and every part of a
dream, is unknown at the outset, and to attempt an interpretation
only after carefully taking up the context.
C. G. Jung, Psychology and Alchemy
The fantasy we call current events, that which is taking
place outside in the historical eld, is a reection of an eternal
mythological experience. . . . Nothing can be revealed by a
newspaper, by the worlds chronique scandaleuse, unless the
essence is grasped from within through an archetypal pattern. The
archetype provides the basis for uniting those incommensurables,
fact and meaning.
James Hillman, An Aspect of the Historical
and Psychological Present

All schools of criticismat least, those with some staying powerebb and
wane. They begin with a brilliant and original thinker who breaks through
habitual, routine interpretations to offer an entirely new way to view texts. A
rst generation of followers emulates the great thinker, and the new method
becomes a school. As the school grows, methods become rules, interpretations
sound like recitations, and insight reduces to mimicry. The school loses its
luster until a fresh thinkeror a generation of themstretches the theory,
alters the methods, and surprises us once again. Jung understood this, and he
often warned his readers against mapping his thought process into a series of
steps. Interpretation should never be based on technical rules. Every text has
its contextits web of associations, a remarkably postmodern phraseand
context is always a shifting ground.

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GEORGE H. JENSEN

If interpretation evolves from context, as Jung certainly believed, then all

context is important, including popular culture. We bring our complete selves to
the texts we write, and, whether we realize it or not, we draw from our complete
selves as we interpret texts. As context shifts, so too should interpretations. This
belief in the totality of self, culture, and text drew Jung to look for psychological
insights in both high and low art, history and politics, myth and fads. Even
the most highly developed individuals, he believed, could not entirely rise
above the mass-mindedness of their times.1 Thus, analyzing popular culture,
looking for a collective trauma that might soon erupt into political upheaval,
is potentially even more important than nding some truth about the psyche
in Greek tragedy.
Jung, for example, wrote an extended essay on UFOs. Even during his lifetime,
many who did not bother to read more than the title of Jungs work assumed
that he was a saucer-believer. He was not. As in all things, Jung was a skeptic
in the best sense of the term. Without adequate evidence, he doubted. When
confronted with radical ideas, he kept an open mind. Jung was not a believer
in little green men, but he was interested in the tendency all over the world to
believe in saucers and to want them to be real (CW 10: 309). He argued that
the tendency to believe in UFOs was related to a remnant trauma from World
War II and the increasing uncertainty of the early cold war, the strain of
Russian policies and their still unpredictable consequences (CW 10: 319, 324).
Such events arouse expectations of a redeeming supernatural event (CW 10:
328), leaving individuals vulnerable to mass-mindedness, charismatic leaders,
and totalitarianism. Jung wrote about UFOs to sound a note of warning (CW
10: 311). He believed that it was difcult to form a correct estimate of the
signicance of contemporary events, yet analyzing contemporary expressions of
archetypes could lend some distance and objectivity. In a similar vein, the essays
in this volume examine contemporary expressions of the puer archetypethe
eternal youthto understand our own times.
The Collective Unconscious and Archetypes

Jung is often discussed and rarely read. Even when read, he is typically encountered piecemeal. Many know enough about concepts such as the collective
unconscious and archetypes only to dismiss them. However, if understood
within the context of Jungs theory of self, the notion of a collective unconscious
is not so difcult to accept.
It is interesting that even those who accept a rather mechanistic version
of the unconscious often question the idea of a collective unconscious. To
understand why so many find the collective unconscious and archetypes
problematic, we should begin with what they believe Jung wrote. The common

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Introduction

(mis)understanding of Jungs theory is that archetypes are universal images that

are passed on genetically and stored in an area of the brain called the collective
unconscious. A host of questions arise at this point that, even in the asking,
indicate the categories of archetype and collective unconscious have already
been reied: Can any image be universal? Can images be passed on genetically?
Is there an area of the brain that could serve as the collective unconscious?
Another reaction to this (mis)understanding of Jungs theory is to dismiss it
without any thought at all, a gut response that this theory conicts with fundamentalperhaps even unspokenbeliefs: Animal behavior is ruled by instincts
and drives, but humans learn and change. Animals do not really feel. Animals do
not solve problems. Humans are the products of language, history, culture.
Of course, we could avoid such problems by bracketing the collective
unconscious. In Anatomy of Criticism (1957), Frye chooses to not speak of
the collective unconscious as the source of archetypes. Instead, he emphasizes
the literary tradition: Poetry can only be made out of other poems; novels
out of other novels (97).2 For him, an archetype is a recurring image or a
social fact that helps to unify and integrate our literary experience (99).3
In contrast, Hillman, who founded the school of archetypal psychology with
the publication of Re-Visioning Psychology in 1975, brackets the collective
unconscious by emphasizing the subject. For Hillman, an archetypea term
that he prefers to avoidis not so much an archetype either because it emerges
from the collective unconscious or because it is a social fact in the literary
tradition; rather, Hillman argues that we experience the archetypalhis
preferred termbecause we view it archetypally (Inquiry into Image). Jung
might say that Fryes approach is extraverted, and Hillmans is introverted. He
might add that they both fail to explain the power of archetypes, which comes
from a momentary unity of outer and inner, material reality and perception,
culture and body, history and experience. As Erich Neumann says, archetypes
are powerful because they represent a unitary reality. The material world,
culture, being, meaning all become transparent (17475).
But perhaps we need not dance around the collective unconscious. What
Jung actually wrote is not so problematic. He wrote that archetypes are ideas in
potential that are fully realized only once they have emerged and taken on the
content of a particular culture and historical epoch.4 The inuence of culture
on archetypes, Jung says, is so great that the spirit archetype as it manifests itself
in France cannot be substituted for the same archetype as it manifests itself in
India. We cannot adopt the archetypes of another culture in the same way that
we put on a new suit of clothes: If we now try to cover our nakedness with the
gorgeous trappings of the East, . . . we would be playing our own history false
(CW 9.1: 14). Archetypes develop historically and they can be interpreted only
historically:

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GEORGE H. JENSEN

The forms we use for assigning meaning are historical categories that reach
back into the mists of timea fact we do not take sufciently into account.
Interpretations make use of certain linguistic matrices that are themselves
derived from primordial images. From whatever side we approach this question, everywhere we nd ourselves confronted with the history of language,
with images and motifs that lead straight back to the primitive wonder-world.
(CW 9.1: 3233)

Contrary to essentialist views of his theory, Jung argues that our knowledge
of archetypes is anything but pure. Archetypes, which Jung says evolve over
time, are constantly being transformed and reinterpreted by the individuals
consciousness, and they are inseparable from language, history, and culture.
Rather than conceive of archetypes as fixed for millennia, we might
consider that history is to archetypes as jazz is to melody. We might think
that we know the melody to Stormy Weather or some other standard, until
a remarkable jazz artist transforms it. Indeed, one might even argue that what
jazz has taught us is that we can never know the melody; we can, however, be
surprised. We can be repeatedly and endlessly surprised to nd what we knew
assume a new form.
Certainly, female archetypes are most in need of exploration. Jung
himself encouraged Toni Wolff, Marie-Louise von Franz, and his wife in this
task. More recently, in her study of mythic patterns in novels authored by
women, Pratt writes of the female imaginationwhich is not escapist but
strategicas it rediscovers a means of transformation that patriarchy pushes
into the unconscious:
[F]or three centuries women novelists have been gathering around campres
where they have warned us with tales of patriarchal horror and encouraged
us with stories of heroes undertaking quests that we may emulate. They
have given us maps of the patriarchal battleeld and of the landscape of our
ruined culture, and they have resurrected for our use codes and symbols
of our potential power. . . . They have dug the goddess out of the ruins and
cleansed the debris from her face, casting aside the gynophobic masks that
have obscured her beauty, her power, and her benece. (375)

Pratt and other scholars rightly demonstrate that archetypes are primordial
and ever new (see also Elias-Button). Artists, often in consort with scholars,
rework archetypes of a previous age and discover archetypes that can emerge
only in a new age (Neumann 90).
Unlike most theories of symbols or signs, however, Jung explains why
archetypes carry such enduring power: although they are a part of a cultural

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Introduction

tradition, they are more than mere cultural creations. When archetypes function
as cultural signs, they are meaningful because they connect with the archetype
(as part of our heritage) that remains within (CW 12: 11). This statement will
not surprise those who have read Jungs essaysread essays in the sense of
tries or attempts hereto explain archetypes, but I would like to suggest that
everything we need to know about archetypes and the collective unconscious
is in a simple poetic phrase, a style rare in Jungs works: Hunger makes food
into gods (8: 155). Let us unpack this metaphor and see where it leads. For
hunger, we could substitute the body in the broadest possible sense, not as
reduced to biology or genetics.5 For food, we can substitute the bodys relation
to its context. Any human who is denied food will experience hunger, which is
an emotion, what Jung calls a feeling-toned instinct. But would it be accurate
to say that we inherit hunger or that emotions are genetic? Not entirely. These
emerge as the body lives in its material context.6 However, once we do experience
something like hunger, we make food into gods or archetypes, a transaction that
occurs within a historical and cultural context. As we follow this explanation
of the development of an archetype, we can see how it can be both universal
(emerging from hunger, the body) and variable (contingent on the material,
historical, and cultural context).7 And, equally important, we can understand
why archetypes are so powerful. They do not simply come to us as socially
constructed symbols from outside; they also connect with some emotionally
charged aspect of our body. Indeed, when we experience the archetypal, there
is no inner and outer or split between mind and history (Samuels, Plural Psyche
27). As Neumann writes, we experience a unitary image of the unitary world
(173). Jungian criticism that ignores history is not very Jungian (for an example
of the blending of archetypes and history, see Emma Jung and von Franzs The
Grail Legend).
Jungs theory of archetypes, I have been arguing, needs to be viewed more
uidly, and Jungs emphasis on history, language, and culture needs to be
acknowledged. We also need to recognize that Jung developed a model of the
psyche that was dynamic and holistic, perhaps an unacknowledged debt to
Hegel (see Kellys Individualism and Jensens Identities). Jung wanted to embrace
positions that, in current academic debates, are often considered irreconcilable: cognition and social construction, structure and history, mind and body,
stability and fragmentation, idealism and materialism, form and culture.
Puer, Senex, and Mother

In the Apocryphon of John, one of the so-called Gnostic texts found near Nag
Hammadi in 1945, John ees the harassment of Pharisees by turning away
from the temple to a desert place. It is there that Jesus appears before him:

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GEORGE H. JENSEN

Straightway, while I was contemplating these things, behold, the heavens

opened and the whole creation which is below heaven shone, and the world
was shaken. I was afraid and behold I saw in the light a youth who stood by
me. While I looked at him he became like an old man. And he changed his
likeness again becoming like a servant. There was not a plurality before me,
but there was a likeness with multiple forms in the light and the likeness
appeared through each other, and the likeness had three forms.
He said to me, John, John, why do you doubt, or why are you afraid? You
are not unfamiliar with this image, are you?that is, do not be timid!I am
the one who is with you always. I am the Father, I am the Mother, I am the
Son. I am the undeled and incorruptible one. Now I have come to teach you
what is and what was and what will come to pass, that you may know the
things which are not revealed, and those which are revealed, and to teach you
concerning the unwavering race of the perfect Man.

As Jesus speaks to John of the perfect Man, he assumes the form of the Father
(the Senex, or wise old man), the Mother, and the Son (puer, or youth).
Had Jung lived long enough to read this passage when it was eventually
published, I think he would have liked it, for Jung believed that archetypes
formed constellations of three. Recognizing the constellation can mean the
difference between being unconsciously under the power of an archetype and
becoming more conscious of the reasons we are being drawn into the same
pattern repeatedly, even when we are harmed in the process. When we move
to an awareness of the constellation, we are more likely to move through the
process of individuation (Jungs term for personal development, which includes
exploring the potential of the individual and ones connection to others) and
gain some separation from a potentially dangerous pattern. It is all a matter of
perspective. As Hillman writes, In analytical practice, we have learned that an
archetypal understanding of events can cure the compulsive fascination with
ones case history. The facts do no change, but their order is given another dimension through another myth. They are experienced differently; they gain another
meaning because they are told through another tale (An Aspect 34).
Hillman goes so far as to claim the polarities of puer and senex provide the
psychological foundation of the problem of history (35). Or, to paraphrase,
to say that history repeats itself is to say that history is an expression of human
nature. I would add that the polarity is foundational to personal development.
In the simplest terms, puer is potential and senex is experience, or the wisdom
that should come with experience. In terms of personal development, the key
is to gain wisdom without losing potential. At a broader societal level, puer is
the element of chance and the embrace of change; senex is the accumulated
wisdom of a culture as embodied in its institutions and laws. In The Birth of

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Introduction

Tragedy, Nietzsche described these forces as Apollonian and Dionysian. As with

all things Jungian, we are better to avoid becoming one-sided and seek a unity
of opposites.
The essays in this volume explore the presence of the puer aeternus in popular
culture. The archetype could be describes as eternal youth, which makes it
sound rather pleasant, the fountain of youth that so much advertising sells us
along with a multitude of products. Yet puer aeternus embodies, according to
Marie-Louise von Franz, all those characteristics that are normal in a youth of
seventeen or eighteen continued into later life (7). She continues:
The one thing dreaded throughout by such a type of man is to be bound to
anything whatever. There is a terric fear of being pinned down, of entering
space and time completely, and of being the singular human being that one
is. There is always the fear of being caught in a situation from which it may
be impossible to slip out again. Every just-so situation is hell. At the same
time, there is a highly symbolic fascination for dangerous sportsparticularly
ying and mountaineeringso as to get as high as possible, the symbolism
being to get away from reality, from earth, from ordinary life. If this type of
complex is very pronounced, many such men die young in airplane crashes
and mountaineering accidents. (8)

Thus, this archetype, when split from its constellation, deals more with arrested
development than eternal youth. We are drawn to the puer. As Terry Eagleton
points out, Most of us would prefer a spree with Dionysus to a seminar with
Apollo (2). Yet, for all the appeal of the puer, do we want to rely on reckless
teenagers to solve the signicant problems facing us?
I wanted to begin with a discussion of the puer archetype within a constellationa wholeto raise the following question: Why is the puer aeternus stalled
in adolescence? Marie-Louise von Franz, in her classic study of the puer aeternus
as manifested in The Little Prince, argues that the male is a homosexual who is
xated on the mother. We are all probably ready to move past this explanation,
so I want to encourage readers to view the splitting of puer aeternus from a
constellation with the senex and the mother-wife as traumatic, a reality borne
of violence. As Greg Morgenson wrote, Whenever a sacral form splitsbe it a
theological dogma, a scientic theory, a politic of experience, or a social roleit
splits like an atom. The imagination explodes. Possibilities inate the ego, and
the puer ies (55).
Jung believes that we experience individual trauma as well as trauma at social
and cultural levels. He wrote extensively about the trauma of childhood as well
as the trauma of Nazism, Stalinism, world war, and atomic bombs. He realized
that even those outside of Germany were affected by Nazism, those outside

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GEORGE H. JENSEN

of Russian were affected by Stalinism, those outside of Europe or Asia were

affected by World War II, and those outside of Hiroshima and Nagasaki were
affect by the bomb.
Because we live in a media-saturated culture, we are even more vulnerable
to societal and cultural trauma than were Jung and his peers. Reading a book
about the Holocaust is not the same as watching it on television. With the speed
and presence of current mass media, we experience pantraumatic events even
more intensely. The entire world watched the World Trade towers collapse, and
we watched it over and over, twenty-four hours a day, seven days a week, for
months. How has mass media brought trauma from the other side of the world
to our living room? How has mass media made us more vulnerable to trauma?
How has mass media altered our memory, making it more difcult to heal? The
examples of puer aeternus discussed in this volume explore these questions and
offer insights into how we need to adapt to recent technological changes. By
understanding current manifestations of the puer, we can learn more about the
trauma that affects us all and how we might heal. We need to be more aware
that archetypes had a role in terrorists ying airplanes into the World Trade
towers and that archetypes had a role in the wars that followed.
Conclusion

At a small, four-screen cinema, which usually screens documentaries and artsy

independent lms, I recently watched An Inconvenient Truth, the documentary
about Al Gores campaign to convince the world that global warning is a real
danger. I was impressed by Gores ethos, the range and depth of his scientic
data, and the effectiveness of his visual rhetoric. As I watched, I asked myself,
How could anyone ignore Gores message? About two weeks later, I walked
into Unidentied, playing at the same cinema. I had not read reviews of this
lm, and I knew only that it had something to do with UFOs. I expected an
artsy independent lm, maybe something like Spielbergs Close Encounters of a
Third Kind on a small scale, but Unidentied was anything but artsy. The lm
was grainy, the dialogue was stilted, and the acting was stiff. I probably should
have walked out and asked for a refund, but I was curious. I wanted to know
why the theater was full of people intently watching a horrible movie about two
reporters as they investigated UFO incidents. Early on, one of the characters
talked about going to church, and another scene ended with a perplexingly
long close-up of the Bible on a bookshelf. Then, about an hour into the lm,
I learned UFOs, which appear from behind dark clouds, are actually demons
that control our thoughts. As I watched Unidentied, I asked myself, How could
people believe such rubbish?

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Introduction

How could people ignore the scientic evidence in An Inconvenient Truth?

How could people believe that UFOs are demons that control our thoughts
and tempt us to sin? The answer to both questions, Jung would say, is the
same. Despite millennia of cultural evolution, we are still creatures with
instincts. For better or worse, we still lead lives that are, to a large extent,
irrational and unconscious. To improve our understanding of such irrational
and unconscious forces, the essays in this volume analyze expressions of a
single archetypethe puer.
The early articles in this volume examine the puer archetype from the
perspective of psychotherapy or mental health. Anodea Judiths Culture on
the Couch argues that the planet is facing enormous problems, such as global
warming, that will require a mature response, yet Western Civilization has thus
far reacted as if stagnated in adolescence. She asks, What if Western Civilization
were a client that came in for analysis? Her answer is a fascinating case study
of W.C., the culture seeking therapy. Susan Rowlands Puer and Hellmouth
examines the TV show Buffy the Vampire Slayer as an example of popular culture
with a positive ensouled mission: to heal the split between the senex and the
puer. Rinda West (Puer in Nature) analyzes two polarities of the puer as
responses to the natural world: the slacker, whose utilitarian approach to nature
expresses itself in cynicism and gratuitous violence (examined here in John
Gardners novel Grendel); and the purist, expressed in isolation from human
culture in the name of protecting nature (analyzed here in Werner Herzogs
documentary Grizzly Man). Dustin Eatons Grounding Icarus discusses the
urge to suicide in brilliant artists; he focuses on the life and death of Kurt
Cobain, lead singer and songwriter for the rock band Nirvana.
The volume next moves into an analysis of developmental issues related
to the puer archetype. John A. Goslings Protracted Adolescence argues that
the American collective psyche is developmentally retarded, characterized by
a fear of Other. Luke Hockleys Shaken, Not Stirred analyzes Agent 007 as
our contemporary cultures Peter Pan and ties this image to British cultures
shadow of Empire and World War II consciousness. Darrell Dobsons A
Crown Must Be Earned Every Day is a self-analysis of the role of aesthetic
experience in the formation of personal identity. Keith Polettes Senex and
Puer in the Classroom claims that the American educational system, despite its
claims to encourage maturation, prevents students from becoming adults.
Finally, the volume addresses the puer archetype as it impacts broader cultural
issues. Sally Porterelds The Puer as American Hero discusses our fascination
with celebrity as a media substitute for authentic heroism. Susan Schwartzs
Little Lost Girl looks to Sylvia Plaths life as an example of the puella woman
who wants to excel and to be loved but not to be known intimately. Marita

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GEORGE H. JENSEN

Delaneys Provincials in Time examines midlife passage among puer-possessed

Americans. Chaz Gormleys The Marriage of the Puer Aeternus and Trickster
Archetypes investigates early trauma as the prime indicator of the creation of
the puer personality. Craig Chalquists Insanity by the Numbers, Knowings
from the Ground ties our cultures obsession with quantitative research to a
childish insistence on factism, which is ultimately a denial of our humanity.
The essays in this volume acknowledge that we are inspired by archetypes to
make heroic sacrices and that we are also driven by archetypes toward massmindedness. It is as important, Jung would say, for us to be critical of all of the
forces that shape our lives, whether these forces be science or myth. It is equally
important for us to understand the trauma that affects our times.

Notes

1. Certainly, the central example of mass-mindedness during Jungs lifetime was Nazi
Germany. From the early 1930s to the beginning of World War II, Jung was involved
with German psychoanalysis. This connection as well as some of Jungs comments
about national character brought charges of anti-Semitism that have never been
entirely resolved. In Jung: A Biography, Deirdre Bair devoted her longest chapter to this
issue, drawing heavily upon material in the Jung archives (43163). While it certainly
could be argued that Jung made questionable decisions that drew him into the Nazi
propaganda machine, Bairs thorough analysis makes it difcult to view Jung as a Nazi
sympathizer or an anti-Semite. As Bair points out, Jung felt that he was maintaining
contact with the German psychoanalytic community to work on behalf of Jewish
colleagues. For example, in the years leading to World War II, Jung sponsored the
immigration of a number of Jewish psychoanalysts to Switzerland, agreeing to support
them if they were unable to support themselves. In citing this example, however, I do
not want to close debate on this period of Jungs life. As Baer points out, we will know
more as restricted archives, including the Freud archives, are opened to scholars.
2. In Anatomy of Criticism, Frye wanted to create a systematic, even scientic, approach
to criticism (78). He also opposed the Romantic notion of originality: Originality
returns to the origins of literature, as radicalism returns to its roots (9798). Jungs
explanation of the collective unconscious struck him, no doubt, as too mysterious and
too Romantic to be scientic.
3. Much of the appeal of Fryes work should be viewed within the context of the 1950s.
Whereas New Critics tended to stay within the borders of single works, Fryes work
was intertextual. He drew the idea of archetypes from Jung to catalog literature, that is,
to articulate a grammar of literary themes in a way that was not so scientic (though
he, at times, claims that criticism is a science) or reductive. Frye was not a psychologist.
He did not tie archetypes to the mind of the writer or reader. Similar to New Critics,
formalists, and structuralists, Fryes approach to literature traverses a terrain that
might include literary characters but is rather devoid of human beings.
4. Joseph Campbell has presented the most articulate defense of a traditional reading
of Jungs theory of the collective unconscious and archetypes in The Imprints of
Experience, a chapter in Primitive Mythology: The Masks of Gods (50131).

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Introduction

11

5. By using the term body rather than brain, mind, or biology, I hope to convey the sense
of the collective aspects of humanity that account for the unity or permanence of
our experience. I mean the body as Kenneth Burke uses the term in Permanence and
Change, a book written when Burke was reading Jung. Burke writes: Insofar as the
individual mind is a group product, we may look for the same patterns of relationship
between the one and the many in any historical period. And however much we may
question the terminology in which these patterns were expressed, the fact that mans
neurological structure has remained pretty much of a constant through all the shifts of
his environment would justify us in looking for permanencies beneath the differences,
as the individual seeks by thought and act to conrm his solidarity with his group
(159). Burke argues that it is the body that accounts for permanence and culture that
brings about change.
6. While Jung did not believe that the mind is a tabula rasa at birth, he does not subscribe
to the notion that we can ever speak of anything such as genetically driven behavior.
In Psychological Types, Jung stresses repeatedly that modes of thought or patterns of
behavior emerge historically. The Romantic movement, for example, developed a new
world perspective and its own approach to understanding identity. Even though the
Romantic movement is long past, some individuals, given their psychological type,
might be still be prone to adopt Romantic views, but he hardly espouses anything close
to a deterministic or purely genetic model.
7. One of the problems with a more traditional approach to archetypes is Jungs
separation of form and content. If we recognize that what Jung calls the form
of an archetype might as easily be labeled as emotions or affect, then the form
and content of archetypes do not seem so separate. A complex of emotions comes
together with a social scene, what Jung on a few occasions referred to as archetypal
constellations, and distinctions between the inner and outer dissolve. The world,
as Neumann describes it, becomes transparent (175).

Works Cited

Bair, Deirdre. Jung: A Biography. Boston: Little, Brown, 2003.

Burke, Kenneth. Permanence and Change: An Anatomy of Purpose. 3rd ed. 1935. Berkeley:
California UP, 1984.
Campbell, Joseph. Primitive Mythology: The Masks of Gods. 1959. New York: Penguin,
1969.
Eagleton, Terry. Holy Terror. Oxford: Oxford UP, 2005.
Elias-Button, Karen. Journey into an Archetype: The Dark Mother in Contemporary
Womens Poetry. Jungian Literary Criticism. Ed. Richard P. Sugg. Evanston, IL:
Northwestern UP, 1992. 35566.
Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton UP, 1957.
Gore, Al. An Inconvenient Truth. Dir. David Guggenheim. Paramount, 2006.
Hillman, James. An Aspect of the Historical Psychological Present. Senex and Puer. Ed.
Glen Slater. Putnam, CN: Spring 2005.
. An Inquiry into Image. Spring (1977): 6288.
Jensen, George H. Identities across Texts. Cresskill, NJ: Hampton Press, 2001.
Jung, C. G. The Collected Works of C. G. Jung. 20 vols. Trans. R. F. C. Hull. Ed. H. Read,
Michael Fordham, and Gerhard Adler. Princeton: Princeton UP, 19531989.

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GEORGE H. JENSEN

Jung, Emma, and Marie-Louise von Franz. The Grail Legend. 1960. Trans. Andrea Dykes. 2nd
ed. Princeton: Princeton UP, 1970.
Kelly, Sean. Individualism and the Absolute: Hegel, Jung, and the Path toward Wholeness.
New York: Paulist Press, 1993.
Morgenson, Greg. A Most Accursed Religion: When Trauma Becomes God. Putnam, CN:
Spring 2005.
Robinson, James. New Hammadi Library in English. New York: Harper and Row, 1977.
Samuels, Andrew. The Plural Psyche: Personality, Morality, and the Father. London:
Routledge, 1989.
Unidentifed. Dir. Rich Christiano. Five and Two Pictures, 2006.
von Franz, Marie-Louise. The Problem of Puer Aeternus. Toronto: Inner City, 2000.

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