论文总字数：34663字

摘 要

2007年诺贝尔文学奖获得者多丽丝·莱辛(1919–2013)被誉为是具有迷人新颖思想的伟大作家。她最著名的小说之一《天黑前的夏天》思想深邃，见解独到，在这部作品中，莱辛探索了女性的精神危机，讲述真实的故事直面人性，启迪读者。

国内外学者主要侧重于研究文本所体现的女权主义，却忽视了主人翁实现荣格式自我的过程。因此，本论文从荣格原型理论的视角分析《天黑前的夏天》这部小说。首先通过分析人格原型，揭示主人翁凯特的自性与社会角色之间的矛盾与冲突。凯特挣扎在传统的家庭角色和自我的无意识之间，最终走向自我实现。此外，在凯特自我发现的旅途中，具有丰富的象征意义的意象，不仅暗示主人翁凯特在追寻自我的旅途中的迷惘，也暗示她最终实现个性化的进程。荣格原型理论揭示了这部小说关于人生，婚姻，家庭及自我的深层内涵。因此原型解读增强了小说的可读性与深刻性，并且帮助我们理解之所以该小说成为经典的原因。

关键词：多丽丝·莱辛；《天黑前的夏天》；荣格原型理论；个性化；意象原型

Contents

1. Introduction 1

2. Literature Review 2

3. Jung’s Archetypal Theory 3

4. The Archetypes in The Summer before the Dark 4

4.1 Persona: the Public Self of Kate 4

4.2 Shadow: the Private Self of Kate 6

4.3 Animus: Kate’s Lover and Her Husband 7

4.4 Self: Kate’s Journey to Individuation 8

5. The Archetypal Images in The Summer before the Dark 9

5.1 The Seal Dream 10

5.2 The Summer 11

5.3 The Darkness 11

5.4 The Bird 12

6. Conclusion 13

Works Cited 14

1. Introduction

Doris Lessing, “the greatest female writer after Virginia Woolf”, enjoys a high status in modernist literature. The Swedish Academy praised Lessing as “that epicist of the female experience, who with skepticism, fire and visionary power has subjected a divided civilization to scrutiny”. She figures many female images, and represents women’s emotions, circumstances, frustrations and desires in her novels. According to writer Arielle Emmett, Lessing “seemed absorbed in the conflicts and potential of women outside the ordinary realms men defined for them.” To Emmett, Lessing’s work was “ an eye opener”, even though she “couldn"t absorb Lessing’s messages completely until much later in life”. As an important pioneer of feminism, Lessing’s ideas have exerted profound influence on her successors.

Born by British parents in Iran in October, 1919, Lessing lived a poor life and quitted school at 16 years old, got married and divorced for two times. Her life experience has great effect on her later writing career. The themes of her works have been changed with the time. In the early period, her novels were based on the political struggle for freedom and equality, adopted realistic writing style. During the later period, she focuses on the difficulties faced by the modern women and their pursuit of self and attempts to reveal the deeper psychological activities of the protagonists. Her books, especially the Martha Quest series, The Golden Notebook, and Briefing for a Descent into Hell, have traced an evolutionary progress of the soul, which to some extent transforms the reader as he reads. The Summer before the Dark is the representative novel of this period. This novel is about a forty-five-year-old woman’s confrontation with the threat of annihilation, the terrors of old age and death. It is the story of Kate Brown and her transcendence of the social conventions, of her awareness of how she has allowed them to define her, and of her burgeoning social subversion in a time and a place where simply to question was itself unconventional. The Summer Before the Dark is told in direct narrative, but through dreams, through archetype and myth.

This paper studies the novel with the help of Jung’s archetypal theory. In the first part, it mainly explores various archetypes hidden in kate’s unconscious, which suggests the possibility of her wholeness of personality. In this part, persona archetype, shadow archetype, animus archetype and self archetype will be applied into the analysis of the character. In second part, it is to examine the implied meanings of the archetypal images in the novel. The archetypal images such as dreams, hair and seal are used meaningfully, which make the connotation of the text more suggestive. The symbolic meanings of images give the story a mysterious aura. The last part is the conclusion, which sums up the archetypal reading of the text, pointing out that kate’s process to the individuation highlights the story.

2. Literature Review

Roberta Rubenstein uses Jung’s psychological theory to analyze Kate’s transformation of consciousness and the relationship between perception and experience, self and others, self and self-image or personal in “The Novelistic Vision of Doris Lessing: Breaking the Forms of Consciousness”. In the essay “The Summer before the Dark: Closed Circles”, Gayle Green analyses the self-discovery of Kate through breaking down patriarchal values and gender roles in it. Jacquelyn Bonomo once talked about the heroines distorted awareness and female role in “The Free Woman and the Traditional Woman in Novels by Doris Lessing: Analysis and Poetry”. In addition, Phyllis Sternberg Perrakis in his thesis “Spiritual Exploration in the Works of Doris Lessing” discusses the spiritual journey of the females in Lessing’s novels. Barbro Pakiam’s essay “A Dilemma of choice in Doris Lessing’s The Summer before the Dark and Anita Brookner’s Hotel du Lac” makes the dilemma as a main theme, concentrating on the inner journey and in this thesis, of importance is the development of three stages: pre-dilemma, the dilemma as such, and its outcome.

In recent year, some domestic critics have begun to pay more attention to this novel. On the WANFANG, there are about 30 journals on this novel. Liang Yan launches a discussion on the feminism interpretation in “An Angel’s Running-away and Returning--A Feminist Reading of The Summer before the Dark”, which discusses the troubles and spiritual dilemma of middle-aged housewives presented in the work and their way out so as to reveal Doris Lessing’s mature and profound feminist thoughts. Tang Teliang’s paper “A Feminist Narratological Interpretation of The Summer before the Dark” analyzes the novel from feminist subjectivity and narrative perspectives.

Although these critics at home and abroad have broadened our horizons, and are helpful to understand this novel, the studies are still not insightful enough. Until now, the author of this thesis has seldom seen any theses, at least on WANFANG or CNKI, which interpret this novel from the aspects of Jungian archetypal theory. Only recently, Wang Dan in her paper “Kate’s Self-discovery and Her Seal Dream Sequence: A Jungian Interpretation of The Summer before the Dark”, attempts to apply the Carl Jung prototype theory and dream analysis theory to analyze Kate’s transition in reality and dream experience and make a in-depth interpretation of the self discovery of Kate. And in “The Crazy Journey of Self-realization—A Study on the Insane Women Images in Doris Lessing’s Fiction”, Yue Ping uses the personal psychological individuation process of Carl Jung psychology involved in the theory as the theoretical framework of this paper and according to the relative theory to deal with the characters images and study the women how to search the inner self in psychological personalized journey under the great depression.

So the author of this thesis notes that archetypal study in this novel is still valuable. The paper will based on former researches with Jung’ archetypal theory to further explore the process during which innate elements of personality, the components of the immature psyche and the experiences of Kate’s life become integrated over time into a well-functioning whole, disclosing the possibility of sustaining the integrity of personality in a fragmentary and compartmentalized modern society.

3. Jung’s Archetypal Theory

Carl Jung, a Swiss psychologist and a follower of Freud, broke away from Freudian psychoanalysis, because Jung did not use Freud’s concepts of id and superego. Jung was fascinated with any sort of myth, art, dream, legend, or religious belief, because he regarded these as conscious expression of deep, largely unconscious psychological forces. Jung points out that: “the collective unconscious rests upon a deeper layer, which does not derive from personal experience and is not a personal acquisition but is inborn” (Jung, 1968: 3).

The collective unconscious showed itself in patterns called archetypes, which are mostly symbols of common human social realities such as heroes, maidens, and babies. The contents of the collective unconscious are called archetypes. The archetype has no form of its own, it only serves as an “organizing principle” on the things we see or do.

Among the various archetypes, the persona, the shadow and the anima/animus have the most frequent influence on the self and help a person to reach his integration of all the aspects of the personality. According to Jung, the creation of the self occurs through a process known as individuation, in which the various aspects of personality are integrated.

Individuation has an overall coalescence effect on the person, both mentally and physically. “The symbols of the individuation process . . . mark its stages like milestones, prominent among them for Jungians being the shadow, the wise old man . . . and lastly the anima in man and the animus in woman” (Jacobi, 1959: 113-114). Thus, “There is often a movement from dealing with the persona at the start . . . to the ego at the second stage, to the shadow as the third stage, to the anima or animus, to the Self as the final stage. Some would interpose the Wise Old Man and the Wise Old Woman as spiritual archetypes coming before the final step of the Self” (John, 1990: 144).

According to Jung’s archetypal theory, as long as a person realizes the meaning of his life, he gets to the peak of his personality development, and he believes that this often happens at one’s middle-age or after one’s forties. The first half of life’s tasks is to establish a family and career, and the task of the second half of life is to find out the internal meaning in his life and death. Jung once points out that a person has difficulties in the transition between the first stage and the second phase of life because our society prepares little for the middle-aged. So he pays more attention to the development of the psyche of those who are in their later years.

4. The Archetypes in The Summer before the Dark

4.1 Persona: the Public Self of Kate

The persona represents public image. The word comes from a Latin word for mask. As it best, it is just the “good impression” which people all wish to present as they fill the roles society requires of them. “And, at its worst, it can be mistaken, even by ourselves, for our nature: sometimes we believe we really are what we pretend to be” (Zhangamp;Xu, 2012:113)!

Kate Brown, the protagonist, is a common housewife in England. The most obvious feature of this character is her ever-changing personality. As a mother of her children, she acts as a maidservant, a connecter and anytime-provider of her family members. Her role has been defined in favor of her husband and her children’s taste. She sacrifices her own desire to be a good wife and mother who suits the convention angel role. Kate prefers to go barefooted and discard her stockings rather than dresses these formal clothes. However, in fact, she has to wear white dress, white shoes and with a pink scarf around her neck at usual day. Only in this way, she will be regard as an understanding wife and loving mother by her children and husband.

As is known to us, the changes of a person physical appearance often reflect those in her mind. Thus, in the novel, Kate’s red hair is one of her public masks, which has earned her lots of love from other people. Originally, Kate usually wears some beautiful and elegant clothes for get her husband’s love or other’s respect. And she always spends amounts of time and money taking care of her hair to make it look fashionable. Her pretty face and red hair symbolize her identity and social status. As it mentioned in the novel, the cost of her hair is hard to accept by the ordinary: “the waiter knew what that haircut had cost, what her clothes had cost, and were automatically extending their expectations to a large tip” (81). However, after Kate was ill, she didn’t want to take care of her hair and just coiled her hair at the back of her head. When she goes back to see her house in this way, she finds that her best friend and neighbors couldn’t recognize her. In a way, this also implies the sorrow of the British bourgeois middle-aged women.

Kate identifies her role in the social and family at the beginning. But she has suppressed her consciousness which is irreconcilable with the traditional woman’s ideas in this process, and makes them become a part of the unconscious psych. Under the mask of the understanding wife and loving mother, she bears the hardship without any complaint and gives up her ideas. As a result, what she has is only the mask of a family angel. Until Kate meets Maureen and lives in her flat, she no longer dye the hair and puts it back into original color. And she starts to wear the clothes which are suit for her. This represents that Kate gives up her public masks and starts to be herself, no longer subject to the impact of the external environment.

4.2 Shadow: the Private Self of Kate

The shadow, an archetype, is a representation of the personal unconscious as a whole and usually embodies the compensating values to those held by the conscious personality. It is the “dark side” of people, those aspects of oneself that exist, but which one does not acknowledge or with which one doesn’t identify. Actually, the shadow is amoral— neither good nor bad, just like animals. “An animal is capable of tender care for its young and vicious killing for food, but it doesn’t choose to do either. It just does what it does. But from our human perspective, the animal world looks rather brutal, inhuman, so the shadow becomes something of a garbage can for the parts of ourselves that we can’t quite admit to” (Zhangamp;Xu, 2012:114).

Everyone has a shadow; it is not something that one or two people have. “All human beings have a shadow and a confrontation with the shadow is essential for self awareness. People cannot learn about themselves if they do not learn about their shadow so therefore they are going to attract it through the mirrors of other people” (Jung, 1968: 45).

There was a crisis in Kate’s marriage, when Michael had a fair with a younger colleague at the hospital. This affair has been so shattering to Michael and Kate, and makes enormous damage between their relationships. Although Kate finally chooses to accept it in order to maintain her marriage and family, her heart can not tolerate the pain. She often sits alone in her room and silently endures the intolerable unfairness. The pain of injustice has been waiting for her all these last years, but she chooses to tend the image of the marriage instead of facing it. She tries to suppress any dark in her heart, but her inner self drives her to release her ungovernable longings and to do what she wants. The disappearance of love and the derail of husband make Kate’s shadow archetype be exposed. As a result, Kate makes an affair with a handsome lover in her summer journey. As is mentioned in the novel:

If she was going to have this affair, the one in front of her, the one on her plate, was it because of Michael? Her will-less, drifting behavior, not being able to say no, not being to do what she would, was because she had been set in motion, like a piece of machinery, by Michael? Popular wisdom was right. But she had done it already. The ingredients had been perfect: she had been thirty-five, he, twenty. And it had been secret; not a soul had known. (74)

To some extent, Kate’s affair reduces her shadow of depression in marriage, but she can not get any satisfaction from it. Her travel being terrible and uncomfortable, she realizes that Jeffrey isn’t as good as she think.

4.3 Animus: Kate’s Lover and Her Husband

The role of male or female is a part of our persona which we must play. However, Jung points out that we have developed only half of our potential, anima and animus are two important archetypes which hide in our bodies. The anima is the female aspect present in the collective unconscious of men, and the animus is the male aspect present in the collective unconscious of women. As Jung writes, “The animus is not the soul in the dogmatic sense, not an anima rationalis, which is a philosophical conception, but a natural archetype” (Jung, 1968: 27). If persona is the external image of man or woman, anima is the internal image of man and animus is the internal image of woman. “The anima or animus is the archetype through which you communicate with the collective unconscious generally, and it is important to get into touch with it” (Zhangamp;Xu, 2012:114).

“As to Kate, at the very beginning, just like Mary and Susan, she also strongly identify with her gender role while at the same time involuntarily neglecting and ignoring the projection of the animus upon her” (Yue Ping, 2012:62). On her journey, she has a strong sense of self to ask her to ignore the male authority rules: no matter what Marry said, she will go with Jeffery. However, during the time stay with Jeffery, she starts to look back the marriage life with her husband. Although this affair ends by Jeffery"s illness, as far as Kate is concerned, this is not a real affair because there is no love between them. But the original intention of Kate’s derailment is to practice a bold attempt for self-realization instead of to search for love. At first, she is under the illusion that Jeffery is the perfect man image in her mind and tries to find her confidence from him. Later, she realizes that she has made a mistake and this affair is not good as she thought.

In addition, a young man has appeared in Kate’s dream later, in fact, this young man is the archetypal of animus in Kate’s mind and also is the embodiment of Kate’s husband in real life. When he first appears in Kate’s dream, Kate is holding the seal and busy in making a fire. Although Kate likes the young man very much, she still decides to send the seal back to the sea. In the second meeting, this man uses the king’s identity to appear in front of Kate. At the beginning of the evening part, the king invites Kate to dance on a raised wooden platform and all villagers keep their eyes on them, but the king soon discard her to dance with another beautiful girl. As a matter of fact, this also reflects the relationship between Kate and her husband in their real life because her husband has affair during the work time. However, what she can do just endure the pain. In the dream, Kate doesn’t want to tolerate it again, so she runs away sadly. Nevertheless, all the people of the village are chasing her, they think that she is discarded by the king and becomes the enemy of them. She wishes the king will save her, but the king just is busy in dancing with the beautiful girl without looking at her. He even accuses her of narrow-minded and making trouble out of nothing.

This also tells us that Kate is indignant and angry when she faces her husband’s affair in real life, not forgive and understanding. And in the dream, Kate finally has courage to confronted the memories of the past marriage life and the real feel of her heart to her husband’s affair. We can see that she starts to get rid of the fetters from society and home, she has own the masculine side and releases the repressed unconscious male factors, step by step to achieve the androgyny in psychology.

4.4 Self: Kate’s Journey to Individuation

According to Jung, the creation of the self occurs through a process known as individuation, in which the various aspects of personality are integrated. Among all the archetypes, the Self is the core and the totality of the whole psyche, which can be defined as one’s wholeness and the final aim of the process of individuation in as far as it is the realization of the totality innate in each individual. Thus the term is connected with the development of the individual’s personality through that individual making the way her own uniqueness is different from collective thought and values.

The main function of the self archetype is to attract other personality archetypes together and bring them into harmony with all parts of personality. The process of Kate’s individuation goes with fear, difficulties, sadness, worry and confusion, but she is still courageous enough to keep on seeking the self, just as the image of heroine in modern society. Usually, the pursuit of the heroine is divided into three stages: the first stage is leave home; the second stage is to expose the inexistent paternal culture lies; the third stage is return home. Similarly, Kate’s journey to individuation is also according to this way of development.

In the novel, after the double strike of body and mind, Kate still has the courage to integrate herself and challenge the social old ideas, then goes on a journey of self-discovery. At the end of her journey of self-search, Kate has learned a lot to refuse, to say “no” to many things. During the long process of individuation, she has changed her appearance, qualities and languages and wins the growth of self. As rebel of the whole social and cultural customs, Kate uses her unique personality and extraordinary courage to walk out a brave road which different with others’, and she also has a clear understanding of the self and the world. To some extent, the journey of individuation is a journey that Kate searches for a way to communicate her earlier personality to the family she is about to rejoin. The final return to her family of Kate symbolizes the success of the individuation. The appropriate environment and the effort she makes all can be regard as the reasons of the success. In addition, the help of Maureen is another important aspect for her to explore the true self and achieve individual wholeness, because they share with each other their pain, laughter and dreams. Thus, she finally ushers her late adult ceremony to end the journey of individualization, integrates other opposite personality archetypes to transcend her and realized the self.

5. The Archetypal Images in The Summer before the Dark

Jung thinks all the anthropogenic activities have symbolic meanings from the perspective of psychology. Generational human beings possess the modes of inherited race, emotion and activity, which are implicitly inherent archetypes manifested by various symbols, such as the sun, the sunset, the moon, plants, animals, water, etc. In Jung’s words, one thing or object that can not be explained in a rational way but certainly has some important, even mythical meanings is considered as a symbol. “Those repetitive symbols in life expressed by specific religions or visual arts and endowed with certain social and universal significance are easier to be understood” (Quan Xiujuan, 2013:31).

In The Summer before the Dark, there are rich archetypal images and some of them so repeatedly appear as to be eye-catching. Among them, “the seal dream”, “summer and dark”, “bird” and “hair” are very connotative.

5.1 The Seal Dream

“In Jung’s theory of dreams, he believes that the symbols of dreams are true symbols, not signs, and they possess a transcendent function. Dreams are both purposive and compensatory, in that they serve to promote the balance and individuation of the personality” (Stevens, 1994: 104-105). Jung also considers that dreams are impartial, spontaneous products of the unconscious psyche, outside the control of the will. When our consciousness has strayed too far from its foundations and run into an impasse, it gives us back an attitude that accords with our basic human nature.

During Kate’s whole self-discovery journey, the seal dream has played an important role. It has appeared 12 times in total and haunted her the whole summer. This dream also witnesses the psychological growth of Kate. The performances in the daylight feed her dream, because she is busy in working for international food organization and at times recollecting the past in the daytime. Due to this, she is awake most of the time, so the only escape route for her is the seal dream. In fact, the wounded seal is a true portrayal of Kate; it symbolizes Kate’s loss of self. When it first appears, the seal is injured, and at that time, Kate is in a great pain. Kate hopes to save the seal and help it get out of the dilemma; from this we can see that Kate is seeking the new goal and direction. The seal dream second appears when she is about to go to Turkey, she feels confused and hopeless at that moment. “That night the dream came into her sleep again—the continuation of the dream about the seal. Now, because it had appeared twice, it was announcing its importance to her” (53).

The third dream occurs as the Istanbul conference is ending and she is hesitating about going to Spain with her lover. In fact, Kate knows she should not to go, because the trip is immoral. Accordingly, the seal is missing in her dream and she cannot find it. The seal’s journey is a parallel to her actual physical journey. By the end, Kate successfully returns the seal to the sea, and the returning of the seal to the water represents Kate’s rebirth and her returning to her husband and children.

5.2 The Summer

Usually, “summer” contains the meanings of bright, light and warm. But in the novel, Lessing seems to give more deep meanings to this summer. It is the season which the story begins, symbolizes the sanguine dreams and physical adventures of Kate Brown.

When the summer comes, Kate receives the first golden opportunity to separate herself from her family and develop her inner self to work in a international organization. At there, Kate retrieves her self-confidence and sees another side of her. Later, she experiences a series of changes during her summer journey, including has an affair, gets ill and meets a girl called Maureen. She also helps Maureen make a decision not to marry one of several suitors who offer her all of the trappings of a conventional marriage and at the same time, she also gains strength to refuse some habitual duty of her.

When the summer is ending, the autumn gradually arriving, Kate"s travel finally gets to the end. This also means that Kate walks towards to the inherent road of the fate. She let the hair to maintain the original true colors to face the family and the future life. The whole summer is the witness to her growth, and before the darkness falls, she makes herself become more confident.

5.3 The Darkness

“The darkness” often means the dim, gloomy and cold. Through the title of the novel, we can learn that the author gives a special meaning to “the darkness”, which refers to the married life of Kate that is full of pain and without self. She gives up language talent to stay at home as a full-time housewife, but her husband has an affair in their marriage so that she feels that she lives in a dark, cold and without light winter.

The story ends in autumn before the winter darkness comes; “the dark” symbolizes both the psychological and biological selves of Kate. In psychological, “the dark” signifies her inner self which is mystical. She tries to lighten the dark side of her self, until the summer end — the completion of the individuation. Moreover, “the dark” symbolizes her aging body and the final death in biological.

Kate Brown finds that Maureen just like her younger years is also facing the confusion of the choice of marriage. Maureen keeps asking her the question about the marriage, but Kate could not tell her a true answer. Finally, Kate decides to return home and accept the fate when she finishes her seal dream. However, at this moment, the realization of her individuation makes her become stronger, and she has enough courage to against these difficulties in her later life. The title, the summer Before the Dark, therefore, also suggests that Kate will complete the construction of her new self before the darkness coming.

5.4 The Bird

In this novel, Lessing repeatedly referred to the image of birds and gave them special meanings. For instance, after Kate works in Global Food for a week, she thinks she has become a parrot. The parrot, which has been considered as an imitate-speaking animal, is for people to play. Kate considers that her work is just like the function of parrots, only translate one language to another language. Kate just gets rid of the mask of housewife for a short while and does not need to care about her children and husband in every minute, but she soon gets into the role of serving the people.

Moreover, Kate once dreamed Maureen were a brilliant yellow bird dashing around the flat, but the flat was a sort of a cage. The brilliant feather symbolizes Maureen is young, and she doesn’t real understand the world. The bird dashing around the house symbolizes that Maureen continues to struggle in the real life. Lessing through described the yellow bird in Kate’s dream, vividly show us the condition of Maureen’s life. In fact, these problems which Maureen comes across are the confusions that Kate keeps considering. She is similar to the young period of Kate, all faced with the choice of marriage. So, she often pesters Kate to tell her some story in marriage and waver between William and Philip does not know how to choose. However, from the beginning to end, Kate cannot tell her a true answer.

6. Conclusion

This thesis focuses on Kate’s quest for self-realization with the help of Jung’s archetypal theory. After having experienced a journey of self-discovery，Kate gains a new understanding of life and herself. In this process, she learns to make a further insight into the relationships of family and gets a profound understanding of herself. The application of Jung’s archetypal theory benefits our understanding of its main character and archetypal images. Kate’s manifold and ever-changing personalities, her inner conflicts and struggles are revealed before us. Besides, the analysis of archetypal images also discloses the confusion and helplessness in the process of a self-discovery journey.

Through archetypal analysis of the novel, it demonstrates that individuation is a life goal and people become more mature and perfect when they get into the late life and their personality and psychology become more complete. The society may restrict a woman to realize her individuation, but it could not hinder her to know who she is. Kate is courageous enough to break the limitations from society with her adequate self-knowledge by integrating other opposite personality archetypes to realize the self.

Other papers on The Summer before the Dark have not focus on individuation of Jung’s archetypal theory, so the present study is of some value and hopefully it can inspire more studies from this perspective. Nevertheless, because of the limit of time and lack of reference materials, this paper still needs to be further improved in terms of its depth and range.

Works Cited

[1] Stevens, Anthony. Jung: A Very Short Introduction. Oxford: Oxford University Press, 1994. 

[2] Jung, C. G. The Archetypes and The Collective Unconscious. Princeton University Press, 1968.

[3] Lessing, Doris. The Summer before the Dark. New York: Alfred A. Knopf, 1979.

[4] Jacobi, Jolande Székács. Complex, Archetype, Symbol  in the Psychology of C. G. Jung. London: Pantheon Books, 1959.

[5] John, Rowan. Subpersonalities: The People Inside Us. London: Psychology Press, 1990.

[6] Yue Ping. “The Crazy Journey of Self-realization—A Study on the Insane Women Images in Doris Lessing’s Fiction.” M. A. thesis. Central China Normal University, 2012.

[7] http://en.wikipedia.org/wiki/Individuation#cite＿note-6

[8] 全秀娟．《荣格原型理论下的《天边外》》（硕士论文）. 四川师范大学, 2013．

[9] 章永兰，徐晓兵．《英语阅读4》．北京：对外经济贸易大学出版社, 2012.

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