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The Influences of C.G. Jung

The Influences of C.G. Jung

Carl Gustav Jung was influenced by literature, symbolism, religion, and the occult From a very young age. Jung’s influencs remained with him as he became a doctor of medicine and a psychological theorist. The philosophical, the supernatural, the symbolic, the religious, and the occult all influenced Jung’s area of psychological expertise, making Jung’s psychology not only unique to Jung, but also pioneering in the field of general psychoanalysis.

In Ernest Gallo’s article “Synchronicity and the Archetypes. (Carl Jung’s Doctrines)”, Gallo cites that Jung was “deeply drawn to the occult” (Gallo, 1994). Jung’s younger cousin, Helen Preiswerk, had the ability to actually shatter knives in a drawer “with a loud bang” (Gallo, 1994). This and other similar cases caused Jung to write his medical dissertation about occult phenomena using this cousin as his subject. Gallo continues by citing that “while Jung was arguing with Freud about psychic phenomena, a loud noise emanated from a bookcase; Jung predicted that it would be repeated and was highly impressed when this portentous prediction came true.” (Gallo, 1994). Jung also reported that “he saw the vision of a face half buried in the pillow next to him” (Gallo, 1994). Despite Jung’s lack of doubt toward these experiences, Gallo says that “Jung was far more than a simple occultist.” (Gallo, 1994), and that Jung was “engagingly skeptical about his wilder speculations” (Gallo, 1994).

The son of a Protestant Minister, Jung also had ties to western religion. Ties that showed themselves in his beliefs and writings (Microsoft Encarta 96 Encyclopedia). Jung cited the importance of the unconscious as a religious channel in his psycho…

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…s Cited and Consulted

Abstracts of the Collected Works of C. G. Jung. (1976). Rockville, Maryland: Princeton University Press.

Bookshelf 1996-97 [Computer program]. (1996). Microsoft.

Coursen, Herbert R. (1986). The compensatory Psyche: A Jungian Approach to Shakespeare. Lanham, MD: University Press of America.

Gallo, Ernest (Summer 1994). Synchronicity and the Archetypes. (Carl Jung’s Doctrines). Skeptical Inquirer, pp. 396 – 404.

Jung, Carl G.,

Apocalypse Now, Apocalypse Forever

Apocalypse Now, Apocalypse Forever

Francis Ford Coppola’s magnum opus Apocalypse Now was ladened with problems and difficulties before and after filming. These problems ranged from those having to do with the cast and crew, to those having to do with the circumstances surrounding the filming, to those having to do with the script, to those dealing in direct regard to the very sanity of all of those involved with Apocalypse Now. Despite the myriad of problems that contributed to this acclaimed film’s failure, Apocalypse Now still became a success in its own right, and a true classic by any director’s standards.

Joseph Conrad’s 1902 novel Heart Of Darkness is the striking story of Captain Marlow, an English ship captain who is sent into Africa to track down and collect the debts of an ivory trader identified as Mister Kurtz, a man who may or may not have gone insane along his eventful journey (Conrad). In this novel Marlow is faced with treachery from the Company, hostile as well as friendly natives, and the impending meeting with Kurtz himself. Marlow becomes obsessed with meeting Kurtz and communicating with him after reading the personal history of the man, and hearing all the remarkable stories about Kurtz told by Englishmen and Africans alike (Conrad). This fascinating story is the one that inspired original screenwriter John Milius to write the first drafts of Apocalypse Now in 1969 (Behr). Orson Welles originally planned to write, direct, and star in his own version of Heart Of Darkness back in 1939 (Behr). The problem arose when the Mercury movie company pulled out of the project citing Welles’ inability to keep the film to be within their strict budget (Virtanen). Welles decided to give up on the project and decid…

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… all signs pointed to Apocalypse Now’s sure failure, that failure never came. Francis Ford Coppola not only did not receive the “F” he assured himself that he would, he created a film that is uniquely his, and that remains loyal to its many parents, but also reflects Coppola’s inner self unlike any other artists mirror.

Works Cited

Behr, Fax (Writer, Director),

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