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Estés, Clarissa Pinkola, Women Who Run With the Wolves. Contracting the Power of the Wild Woman, London, Rider, 1992. Bluebeard In a single human being there are many other beings, all with their own values, motives, and devices. Some psychological technologies suggest we arrest these beings, count them, name them, force them into harness till they shuffle along like vanquished slaves. But to do this would halt the dance of wildish lights in a woman's eyes; it would halt her heat lightning and arrest all throwing of sparks. Rather than corrupt her natural beauty, our work is to build for all these beings a wildish countryside wherein the artists among them can make, the lovers love, the healers heal. But what shall we do with those inner beings who are quite mad and those who carry out destruction without thought? Even these must be given a place, though one in which they can be contained. One entity in particular, the most deceitful and most powerful fugitive in the psyche, requires our immediate consciousness and containment-and that one is the natural predator. While the cause of much human suffering can be traced to negligent fostering, there is also within the psyche naturally an innate contra naturam aspect, an "against nature" force. The contra naturam aspect opposes the positive: it is against development, against harmony, and against the wild. It is a derisive and murderous antagonist that is born into us, and even with the best parental nurture the intruder's sole assignment is to attempt to turn all crossroads into closed roads. Stalking the Intruder: The Beginning Initiation This predatory potentate 1 shows up time after time in women's dreams. It erupts in the midst of their most soulful and meaningful plans. It severs the woman from her intuitive nature. When its cutting work is done, it leaves the woman deadened in feeling, feeling frail to advance her life; her ideas and dreams lay at her feet drained of animation. Bluebeard is a story of such a matter. In North America, the best known Bluebeard versions are the French and the German. 2 But I prefer my literary version in which the French and the Slavic are mingled, like the one given to me by my Aunt Kathé (pronounced "Katie"), who lived in Csibrak near Dombovar in Hungary. Among our cadre of farmwomen tellers, the Bluebeard tale is begun with an anecdote about someone who knew someone who knew someone who had seen the grisly proof of Bluebeard's demise. And so we begin. = = = THERE IS A HANK OF BEARD which is kept at the convent of the white nuns in the far mountains. How it came to the convent no one knows. Some say it was the nuns who buried what was left of his body, for no one else would touch it. Why the nuns would keep such a relic is unknown, but it is true. My friend's friend has seen it with her own eyes. She says the beard is blue, indigo-colored to be exact It is as blue as the dark ice in the lake, as blue as the shadow of a hole at night. This beard was once worn by one who they say was a failed magician, a giant man with an eye for women, a man known by the name of Bluebeard. 'Twas said he courted three sisters at the same time. But they were frightened of his beard with its odd blue cast, and so they hid when he called. In an effort to convince them of his geniality he invited them on an outing in the forest. He arrived leading horses arrayed in bells and crimson ribbons. He set the sisters and their mother upon the horses and off they cantered into the forest. There they had a most wonderful day riding, and their dogs ran beside and ahead. Later they stopped beneath a giant tree and Bluebeard regaled them with stories and fed them dainty treats. The sisters began to think, "Well, perhaps this man Bluebeard is not so bad after all." They returned home all a-chatter about how interesting the day had been, and did they not have a good time? Yet, the two older sisters' suspicions and fears returned and they vowed not to see Bluebeard again. But the youngest sister thought if a man could be that charming, then perhaps he was not so bad. The more she talked to herself, the less awful he seemed, and also the less blue his beard.
Entretextos, 2015
In this dissertation I develop a theoretical framework for the practice of dream reading as a form of literary engagement worthy of attention from educators. Dream reading is a form of research in which the researcher takes responsibility for selfreflection and potential transformation of self through the construction of knowledge based on "reading" literary fictive images as if they arose from night dreams. This study develops dream reading theory through an exploration of Carol Shields' novel, Unless, as if it were a dream. It examines women's silence and the disposition of fear of knowing from multiple perspectives. The study uses my personal dream journals together with a variety of theoretical works in feminist, consciousness and dream theories to inform interpretations of Norah, Reta, Lois, and Danielle. For as Donald says, "when stories and ideas are juxtaposed, so that their meanings collide, they can shift our focus to new semantic spaces [to] clarify the experienced world" (p. 294). This work is a limit case that investigates women's silence and fear of knowing as they emerge from my personal experience of resistance to the chaos and uncertainty of disintegrating and rebuilding through midlife into crone.
The article is aimed at scrutinizing a variety of modernistic writings in a Bluebeard fairytale tradition. It is intended to show what is to be gained by studying texts in relation to the contexts in which they were produced. The period considered here is that of the late XIX and early XX centuries. This takes us into discussing patriarchal authority in the political thought of the early modern time in France and that of the Victorian England.The "Bluebeard" fairytale changes in the domain of gender as a response to certain historical and psychological changes are analyzed. A wide range of writings is investigated to reveal the contribution made by the French and English authors in the field of literature. The analysis implies that certain feministic ideas which grew out of social changes in the society of France and England have provoked some archetypal alterations in the texts of French and English modernists.
Edmund Spenser's epic Arthurian-centric poem The Faerie Queene (1590, 1596) is permeated by fairy tales and old wives' tales, but the very presence of the tales and their tellers is problematic, as these feminine voices are often included only to be silenced (Miller 6). When writing of the challenges to chastity and marital fidelity in the central books of his poem, Spenser creates a fairy tale damsel-in-distress, Amoret, as his model of a young bride overcoming her fears of the violence of sex and instability of marriage. When creating Amoret's narrative, Spenser appropriates and reutilizes one specific fairy tale type, namely "Bluebeard," repeatedly. Amoret's narrative is a series of "Bluebeard"-esque episodes.
1993
This dissertation, accepted in January of 1993, develops a constructive critique of the Church through a Jungian analysis of Euro-American women raised in Christian denominations but seeking religious meaning through Native American spirituality—specifically by creating medicine shields. Chapter 2 identifies trends contributing to contemporary interest in Native American spirituality and examine Native American shields from their earliest appearance in anthropological accounts to the present. Chapter 3 describes shield-making workshops where interviews were obtained. Interview responses are analyzed. Reasons given for leaving the Church are: Christianity’s devaluation of women/ the feminine, physical embodiedness, and the sacredness of creation; the emptiness of Christian symbols; respondents’ desire for participatory experience; hierarchical/ institutional/ patriarchal Church structure; and desire for a religious community that does not define the limits of women’s spiritual experience. The man Jesus is seen as Christianity’s one positive element. Chapter 4 presents a broad overview of Jungian psychology and examines Marion Woodman’s revisions. A Jungian analysis of shield-making suggests that shields function as mandalas, symbols of psychic wholeness, and reflections of women’s experience of feminine beingness and their journeys toward individuation. Chapter 5 examines women critiquing the Church from within and incorporating Native American elements in feminist formulations. Rosemary Radford Ruether speaks for feminist theologians. Meinrad Craighead demonstrates an artist’s search for spiritual symbols. Chapter 6 weaves women’s voices, Native American spirituality, and Jungian psychology into a constructive critique of the Church. Women pursuing Native American spirituality appear to focus on experience of the feminine Being of God/ess and affirmation of themselves as embodied women. The Church does not offer women access to either experience. A Jungian interpretation of Jesus Christ as animus and his participation in the sacred marriage crowning the individuation process offers a model for women’s reconciliation with Christian symbology. The Native American medicine wheel embodies a model of wholeness as it encloses the cross in the fullness of creation. Chapter 7 concludes that Christological reformulations will not suffice if the Church cannot transform the patriarchal bias at its core and affirm the feminine in its spiritual and embodied reality. Earth-based spiritual traditions may offer necessary correctives. Appendices follow the text, including interview questions and responses, and illustrations of some of the shields discussed.
International Standard Book Number-10: 0-415-97781-9 (Softcover) 0-415-97780-0 (Hardcover) International Standard Book No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers.
2011
iii ACKNOWLEDGEMENTS My gratitude to all those who have supported and encouraged me in this endeavor exceeds expression. Likewise, the number of people whose names I should mention in acknowledgement exceeds the space allotted by decorum for thanking them. Of those I am able to name here, I must begin with Kevin Gustafson, Jacqueline Stodnick, and Amy Tigner, my wonderful committee, thanking them their continuous encouragement, assistance, and advice.
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