A Quote by Carl Jung

In fact, the whole of mythology could be taken as a sort of projection of the collective unconscious — © Carl Jung
In fact, the whole of mythology could be taken as a sort of projection of the collective unconscious
The collective unconscious appears to consist of mythological motifs or primordial images, for which reason the myths of all nations are its real exponents. In fact the whole of mythology could be taken as a sort of projection of the collective unconscious. We can see this most clearly if we look at the heavenly constellations, whose originally chaotic forms are organized through the projection of images. This explains the influence of the stars as asserted by astrologers. These influences are nothing but unconscious instrospective perceptions of the collective unconscious.
The starry vault of heaven is in truth the open book of cosmic projection, in which are reflected the mythologems, i.e., the archetypes. In this vision astrology and alchemy, the two classical functionaries of the psychology of the collective unconscious, join hands.
One of the things that really intrigued us the most about the whole Wonder Woman mythology is the actual mythology of it. Her character has distinct roots in classic Greek mythology.
It is not history, theology or mythology that interest me. It is the fact that history, theology or mythology could have alternative interpretations or explanations. I try to connect the dots between the past and the present.
The collective unconscious contains the whole spiritual heritage of mankind's evolution born anew in the brain structure of every individual.
I think when we were developing Season 1 - and to Netflix's credit, they sort of pressured us to make sure we had this mythology really hammered out - we had like a 25-page sort of 'Stranger Things' mythology that only maybe a small handful of people have seen.
The world is a projection of our collective consciousness. If our collective consciousness reaches that place of peace, harmony, laughter and love, it will be a different world.
I used to like Norse mythology, Greek mythology, Egyptian mythology. All mythology!
The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.
My responsibility is simply being who I am and not buying into any projection as real. No projection is finally real, but projection does play a very important role.
I rarely use mythology for its own sake because, as a theatre person, the mythological figures are in fact humanity to the ninth degree and Yoruba mythology in particular has fascination of being one of the most humanised mythologies in the world.
Most of the monsters... are based on some sort of mythology. Every culture and even some geographical areas have monsters and mythology that is their own.
The stuff that I learned on 'Sons,' the education of how to tell stories, was part of that mythology. It's hard to look at it and go, 'Oh, if I knew this, I would have done it this way,' because the fact is I like to think that all that sort of unraveled as it was supposed to.
I love the entire 'Constantine' mythology, the 'Dead Man' mythology, the Alex Holland 'Swamp Thing' mythology.
I'm just trying to make a smudge on the collective unconscious.
The world proceeds from the same spirit as the body of man. It is a remoter and inferior incarnation of God, a projection of God in the unconscious.
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