Abstract: Shadows, Day and Night
Carl Jung is considered the father of analytic psychology. Scholars and psychologists alike consider his work with the “collective unconscience” to be his crowning achievement. By developing a series of archetypes to describe what he called “the weather conditions of the human brain,” Jung was able to quantify the probable human reaction to emotional stimuli and categorize this response by archetype. The collective conscience is the entity that all of humanity pays into; all of our morals, sins, wrongs, and perceptions have built a constantly changing societal standard that we sometimes compare our behavior to. The collective unconscience is the human reaction, good or bad, that comes in response to our behavior as compared to society’s standards.
The shadow is the archetype that descends upon us during times of uncertainty, when we have done something wrong, or when under emotional distress. Bobby Ann Masons “Shiloh” and Billy Joel’s “The Stranger” take different approaches to recognizing and processing the shadow archetype. In “Shiloh,” Mason uses Leroy Moffitt to demonstrate what happens to one who ignores the shadow. In Joel’s song “The Stranger,” the narrator shows what it is like to recognize, come to terms with, and understand the shadow archetype. In the end, both artists demonstrate an individual’s response to the collective conscience, or lack thereof, and how the shadow archetype affects one’s perception when comparing experiences to societal standards.
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25 March 2016
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18 July 2022
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