Anima Animus - The Creatures | Songs, Reviews, Credits | AllMusic
terms of the relationship between their anima/animus and their outward persona, . Frankenstein's Creature is the tragic result of Victor's unnatural ambition to. Find album reviews, stream songs, credits and award information for Anima Animus - The Creatures on AllMusic - - Now that the Banshees are no more . Anima Animus is the third studio album by British duo The Creatures, consisting of Siouxsie Sioux and drummer Budgie formerly of Siouxsie and the Banshees.
Many of you, however, have heard this dream before, so I do not know that it is worthwhile for me to repeat it. It was requested that the dream be repeated.
Well then, the dreamer found himself in the presence of a very beautiful venerable old man who was clad in a black robe. He knew this man was the White Magician. The old man had just finished a sort of discourse, which the dreamer knew was full of fine things, but he could not quite remember what had been said, though he did know the old man had said the Black Magician would be needed.
Just then in came another very beautiful old man dressed in white, and this was the Black Magician. He wanted to speak to the White Magician but, seeing the young man there, hesitated. So the Black Magician related that he came from a country where there was an old king reigning, and this old king, bethinking himself of approaching death, began to look about for a suitable and dignified grave in which he should be buried.
Among some old monuments he came upon a very beautiful tomb, which he caused to be opened and cleaned. Within they found the grave of a virgin who had lived ages and ages ago. When they threw out the bones and these came into the sunlight, they immediately formed themselves into a black horse which ran away into the desert and was lost.
These he followed into the desert, and for days and days, until he came to the other side of the desert, and there he found the black horse grazing.
By his side lay the keys to Paradise. With these he had come to the White Magician for help, as he did not know what to do with them.
Anima and animus - Wikipedia
This was the dream of a man quite untouched by analytical ideas. By himself he had come into problems that activated his unconscious in this way, and because he had an unrecognized poetic faculty, the unconscious content took this form, which without that faculty would not have been possible.
Obviously the dream is full of wisdom, and had I analyzed the young man he would surely have been impressed with that wisdom, and come to have deep respect for the unconscious. I would like now to try to present to you something about the psychology of women, using this same diagram, with a few changes see Diagram 4. We may say that the real man is seen by the woman on his bright side, and that her relationship to the real man is a comparatively exclusive one—that in this respect, it is just the opposite of the average relation of a man to the real woman.
In a man this relationship is not exclusive. Similarly the animus has a bright and a dark side, but balancing the unique man in the conscious, we have in the unconscious of woman a multitude of animus figures. When a man is possessed by his anima, he is under peculiar feelings, he cannot control his emotions, but is controlled by them.
A woman dominated by her animus is one who is possessed by opinions. Nor is she too discriminating about these opinions.
It is felt as a silent prejudice by a man who meets this phenomenon in a woman. It is something exceedingly baffling to him, and irritating to a degree through its power and invisibility.
A woman too has a peculiar attitude toward nature, much more trusting than that of a man. There must be something like this to account for the fact that there are three times more suicides among men than among women.
In other words, the woman sees that the dear old god who is going to make everything come out all right has moods of his own, so one must not be too trusting.
This is the element of skepticism, the shadow side. Women tend to take them together. If you listen to an argument between men you can always hear them keeping the negative and the positive aspects of the subject distinct; they may discuss now the one, now the other.
But begin an argument with a woman in which the premise carries in it this principle of discrimination, and in about two minutes she has shot through your whole logical structure by bringing the positive right into the middle field of the negative aspect and vice versa.
Nor can you ever persuade her that she has thus destroyed the logic of the discussion. To her way of thinking, the two belong very close together. This struggle for a principle of unity runs through all her psychological processes, just as the opposite principle, that of discrimination, runs through those of man.
Now when it comes to the unconscious of the woman, the picture becomes obscure indeed. I think there again is to be found the figure of a mother, and again she has a dual aspect, but in a peculiar way. I have been tremendously impressed with the animal character of the unconscious of woman, and I have reason to think that her relation to the Dionysian element is a very strong one.
Frankenstein, however, cannot allow creation of the female creature to be realized. Her completion would mean the end of his self-gratifying illusion that the anima and the symbolic representation of the anima, woman, is not needed. The Witch of Atlas seemingly creates a perfectly balanced being, the Hermaphrodite.
However, at the same time the Hermaphrodite is freed from the bonds of gender construction, it is restrained by the bonds of language. The English language lacks a non-gendered third-person singular pronoun that does not carry objective connotations.
Carl Jung on the relationships between Man, Woman, Anima, Animus, Collective Unconscious
In fact, the Hermaphrodite can hardly be called a character rather than an object; it lacks any particularly defining emotional characteristics or evidence of self-reliance. Moreover, Hoeveler suggests a reading that shatters the original image of the Hermaphrodite completely: Hermaphroditism produces a physical monstrosity that merely accentuates the differences between the sexes.
Considered in the context of the Jungian model, the psychology of the Hermaphrodite is monstrous. The Hermaphrodite, however, being neither male nor female, but an amalgamation of both, is psychologically incomplete because neither an anima nor animus can form.
This may offer and explanation as to why the actual character of the Hermaphrodite is so bland and uninteresting.
The text of the poem supports the notion of the Hermaphrodite as an object and that notion is reinforced because it cannot be fully considered a human being, for lack of a complete human psyche.
Thus, Percy Shelley draws a clear distinction between androgyny and hermaphroditism. The androgyny of the Witch is desirable and the hermaphroditism of her creation is not; the former allows for self-sufficiency and creative power while the latter is an impossibility that inhibits any form of action, creative or otherwise.
With this clear distinction, the notion that gendered consciousness is constructed rather than inherently linked with sex is enforced. The physical fusion of the sexes, the Hermaphrodite, does not necessarily bring about any of that balance of power just by virtue of its existence.
This stark contrast between the Witch of Atlas and her creation illuminates how gender constructs, not the physical and mental separation of the sexes themselves, are the obstacles to original thought and creativity. In considering creation, understanding the method by which creation occurs informs the nature of the act itself. Both Victor and the Witch cultivate their creations through some manipulation of supernatural forces, though there are distinct and important differences between the practices of each.
From an early age Victor studies alchemy, despite being warned numerous times by his father and academic mentors that these ancient theories are not based in solid or respectable science. His bias on this subject is apparent as much as the pride that fuels his aspirations towards godhood. He constructs through unnatural means, often going not only past the boundaries of nature, but past the boundaries of humanity as well.
Victor obsesses himself with overcoming the mortality of the human condition and circumventing the maternal so much that he himself loses grasp of his own humanity. The Witch of Atlas is never put on the level of a human being; she is in her birth divine and in her existence undying.
However, her magic integrates the natural world, rather than separating it from her. She forges the Hermaphrodite out of fire and snow, and animals and other natural spirits are drawn to her powers. The Witch also uses her gifts for the betterment of humans as well as for her own purposes.
Anima/Animus | Renzo Spiteri
The Witch, though divine, exhibits more human sympathies in her work than Victor. The Witch, though not an expressly human character, represents the androgynous consciousness that brings what may start out as unnatural more in tune with nature. She is also the most inclined towards the use of that power for genuine philanthropic deeds.
Here the metaphor begins to extend to more visible structures of everyday human life. As one of these philanthropic deeds, the Witch unites the masculine and the feminine in the form of the human lovers, just as she herself is psychologically united.
Real human people may be able to achieve the same level of self-actualization as the Witch, so the celebration of the anima or animus is another seems to be the healthiest alternative Percy Shelley provides.
It is still an incomplete perfection, but to large degree a well-balanced collective mind is substituted for the well-balanced individual psyche. She allows the mortals to confront their problems in dreams.
The unconscious is the vehicle by which these issues begin to see resolution; a pattern that fits exactly with what the Witch herself displays and with what Victor Frankenstein does not. Thus, the unconscious animus or anima has a very real and present connection with the conscious person in the scope of both works.