By Genaro Delgado. University of Zaragoza Master Student.

The Mysteries of The Passion: A Jungian Perspective

A psychological glimpse behind the Fictional story

Jeanette Wintersons historiographic metafictional novel The Passion is analysed here through Jungs psychoanalytical theories. This paper will first present some theoretical background. Concepts like: sacrifice, Shadow, repression, crucifixion, Anima, Anima stages and others will be introduced with a view to providing the structuring analytical perspective needed to confirm the working hypothesis, namely, that Henris psychological development in the novel presents parallels with the passion of Jesus Christ. In order to do so, I will show the parallels between the imagery conveying the Christian mysteries of the passion of Christ and Henris symbolic quest for individuation in the novel. A very young male protagonist, Henri, enrols in the Napoleonic French army at age 12. He goes through the hardships of war until he meets Villanelle, a Venetian vivandire (French for prostitute), in the Russian campaign. They fall in love and desert on a pilgrimage to her home in Venice. There they cross paths with fate having to confront old enemies in new disguises (115). This proves to be a life-changing event, especially for Henri. This paper does not attempt to speculate on whether the use of the Christian parallel was intended or not. It is merely aimed at highlighting signs of Christs archetypal symbolism in the imagery employed to represent Henris maturation process, though from a psychological analytical perspective. I will propose here how psychological aspects of Henris life parallel and even represent many Christ-figure symbols, in a novel where religion rules, starting from its title.

By Genaro Delgado. University of Zaragoza Master Student.

The novel portrays the story of Henri and Villanelle set in the times of the Napoleonic wars in Europe. Henri is an autodiegetic narrator, protagonist, writer and teller of the story. The story is narrated in a reporting style in the form of Henris autobiographical journal. He wrote it in a mental hospital years after the war, but the reader does not know that until the end. He starts a journey in search of meaning, finding some on his way. Villanelle is the female co-protagonist and also narrator at times. She tells her own story from the start, and later alternates with Henri while they stay together, though seemingly at a secondary narrative level. It is not a love story but love plays an important role as a drive for the development of the actions. Henri is a child spoilt by a mother with strong religious views: he was born in a matriarchal Catholic house where the Virgin Mary is revered as God himself. He enrols at age 12 in the French army in search of experience on the meaning of words like passion. Homesick from the start (6), he has to grow up through the difficult experiences of military life. A puritan at heart (106), he discovers love and fate tied by the hand. He has to face his innermost fears and mistakes as a result of his actions. The young man finally grows up psychologically transcending these difficulties. As Carl G. Jung wrote in 1959 in the Archetypes of the Collective Unconscious, sacrifice has to do with the need to give up the world of childhood: One must give up the retrospective longing which only wants to resuscitate the torpid bliss and effortlessness of childhood (Jung, 1968: 643). Although Henri is bound to mature rapidly as he faces the hardships of military life after he enrols in Napoleons army at a very early age, his longing for his mother is patent in the first chapter of the novel, where he is presented to the reader. The analeptic episodes to his childhood show his longing for that life.

By Genaro Delgado. University of Zaragoza Master Student.

From his mother, Henri inherits the morality and practice of the Catholic religion. Were more or less religious in our village Henri comments (9). His moral background is forged by a close mother relationship and his tutoring from a priest but especially from the ideas coming from his mother, a fervent believer in God and the Virgin Mary, who escaped home to be a nun and always carried a Bible with her. Henri explains: I cant be a priest because although my heart is as laud as hers I can pretend no answering riot (9), showing that his religious beliefs coming from his mother are confronted with his expectations for religious passion. As he further notes,

I am not interested in the still small voice. Surely a god can meet passion with passion? She [his mother] says he can. Then he should. (10)

This sets young Henri within a strong religious moral frame that initially prevents him from seeing passion other than in religious terms, as is shown here: Domino was right about me: that I was a puritan at heart, didnt understand weakness and mess and simple humanness. I was very much hurt by this, but I think what he said was true and it is a fault in me. (106) This religious education lies at the heart of Henris sexual repression. According to Jung, repression is the unconscious suppression of psychic contents that are incompatible with the attitude of consciousness: Repression is a process that begins in early

By Genaro Delgado. University of Zaragoza Master Student.

childhood under the moral influence of the environment and continues through life (in Sharp, 1991: n.p.). But repression is not only a factor in the origin of many neuroses. Jung argues that it also determines the contents of the personal Shadow, that is, the instinctual facet of the self, since the ego, or rational facet, generally represses material that would disturb the subjects peace of mind. Jungs Shadow concept, according to D. Sharps Jung Lexicon, is composed for the most part of repressed desires and uncivilized impulses, morally inferior motives, childish fantasies and resentments, etc.all those things about oneself one is not proud of. These unacknowledged personal characteristics are often

experienced in others through the mechanism of projection. We will later see how this mechanism of projection shows Henris inner feminine side reflecting itself on other female characters in the novel, but now we will focus on the masculine facet. Henris first job in the army was wringing chickens necks in the Emperors kitchen. There, Henri meets the Cook who is twice his size and seems to be a sort of leader for soldiers there. The Cook teaches him how to prepare chicken for Napoleon. This paper proposes that this character is Henris projected Shadow. The Cook represents sexuality for a religious youth who prefers to stay reading the Bible than go to prostitutes. The Cook is extroverted while Henri is introverted. The Cook is irresponsible, a drunkard and violent man. Therefore, he represents many of the worst things young Henri can detest or fear in the face of his religious moral background. And yet, at the same time the Cook also signifies things repressed within Henris own unconscious. Henris mother sends him to the church to be tutored. A priest with a hollowed Bible where he hides a pack of cards became his tutor. The priest taught Henri literacy, arithmetic, the rudiments of

By Genaro Delgado. University of Zaragoza Master Student.

first aid and every card game and a few tricks (12). The priest used to point to Henri the girls he wanted but could not have, asking the boy to do it for him instead. Henri never did, but this started his questioning of religious practices. The priest was the first adult who exemplified for Henri a conflictive ambiguity in the practice of strict moral dogma. When morally unacceptable desires are hidden, they are suppressed or become fantasies. The priests hollow Bible represents the church and dogmas' faade hiding inside mundane aspirations like gambling and sexual desire. This symbolism also mirrors Henris own inner struggle between conscious and

unconscious desires. As we have seen, Jung argued in his studies that repression is a psychological safeguard mechanism where consciousness does not allow for conflictive unconscious desires to surface. Instead, in order to be able to resolve the conflict indirectly, repressed unconscious desires are projected onto others as ones Shadow. So, while the Cook represents everything opposed to Henris conscious moral values, Henri is unconsciously attracted to the Cook as he also personifies his own unconscious desires. This would explain the magnetism between the two characters irremediably united in the novel by fate. The Cook is early expelled from the military service and he blames Henri for it, thus becoming his sworn enemy from the start. Henri was unable to aid the Cook (his Shadow) when he lay in a drunken stupor, by bringing him back to consciousness. Thus, the Cook was found drunk and unconscious lying on the kitchen floor upon a routinely inspection by Napoleon himself. The author makes a significant connection between the priest as tutor and the Cook as leader here. Henri is unable to give first aid to the unconscious Cook, first aid being one of the things Henri was supposed to have learned from the priest-tutor. The Cook as Henris

By Genaro Delgado. University of Zaragoza Master Student.

Shadow represents his unconscious tutor, showing Henri his own hidden desires in order to work out a resolution of the conflict between his repressed unconscious desires and his conscious moral values. This shows not only that Henri did not learn the noble and pious things his mother expected him to learn when she sent him to the church to study, but also he discovered the hidden things instead. Although Henri was yet unable to bring his unconscious conflicts to consciousness to resolve them, he is on the solution road. Later in the novel destiny or fate, on an unexpected turn of events, makes their paths cross again. This time the meeting leaves Henri to inevitably face his Shadow/the Cook. Henris falls to a

violent pull, probably the result of war trauma, which takes him to a mental institution. He ends up having to face his unconscious most inner fears in the form of ghosts and voices. Crucifixion is an archetypal motif associated with conflict and the problem of the opposites. Jung explicitly says in his 1966 book, The Psychology of Transference:

Nobody who finds himself on the road of wholeness can escape that characteristic suspension which is the meaning of crucifixion. For he will infallibly run into things that thwart and cross him: first, the thing he has no wish to be (the Shadow). (Jung 1966: 470)

From this perspective, it is easy to see that Henri will not be able escape the fate of crucifixion once the Cook unexpectedly crosses his path. Rebirth is a process experienced as a renewal or

transformation of the personality. Jung distinguished five different forms of rebirth. Among these, following one another, he places

By Genaro Delgado. University of Zaragoza Master Student.

resurrection and psychological rebirth (individuation) (in Sharp, 1991: n. p.). Psychological resurrection and rebirth bring the full circle to a close, that is, Henris psychological individuation cycle is fulfilled. Henris psychological development along his journey in the novel shows, not only echoes, but also further draws considerable parallels with the archetypal passion of Jesus Christ in the Bible. Before we explain this we will first outline the process of Individuation already mentioned. According to Jungs analytical psychology, individuation is a positive natural process of psychological differentiation. Jung argues in his collected works that the goal of the individuation process is the development of the individual personality: In particular, it is the

development of the psychological individual as being distinct from the general, collective psychology (Jung, 1959: 757). Individuation and a life lived by collective values are nevertheless two divergent destinies; they are related to one another by guilt, as Jung further indicates. The process of individuation is represented in Henri by his questioning of the collective social values of passion/love and religion/faith in church and empire, where guilt plays an important role. This is exemplified in the following two life-changing episodes in Henris journey: He first experiences strong survivor guilt, expressed in his directly seeing visions of dead men victims of the empire, accusing him. Later he will be frightened by hearing voices that need to be heard (142) under the windowsill of his cell at the mental institution of Saint Servelo. We have seen how Resurrection and psychological rebirth are related to the Individuation process; and how the transcendence of collective values by individual values associated with the process of individuation is often linked with guilt. We can argue that the two events of Henris strong experience of guilt are signalling the individuation process is taking place,

By Genaro Delgado. University of Zaragoza Master Student.

potentially leading to his psychological rebirth. The former represents a rebirth within a group experience, usually a not lasting one according to Jung: The group experience goes no deeper than the level of ones own mind in that state. It does work a change in you, but the change does not last (Jung, 1959: 225). The fact that Henri keeps his military track until the Russian campaign, when he experiences the survivor guilt of wartime, proves this. The latter represent the beginning of Henris resurrection in terms of his psychological individuation or spiritual rebirth proper. So we have now seen how, the novels main character undergoes psychological sacrifice based on Jungs maturation concepts: Henri abandons his childhood as a result of the forced maturation brought about by his military service in war times. In the process he will try to repress the negative aspects of his subjectivity, projected onto his Shadow/the Cook. He will inevitably find the cross, where they both meet unexpectedly and violently. Out of this crossing point Henri will live his potential resurrection or rebirth that is the final goal of his individuation process. This psychological view of Henris pilgrimage shows a strong resemblance to the Christian event of the Passion, which is by no chance the title of the book. Jesus goes to the synagogue at an early age finding only disagreement with priests there. He disappears when he is twelve and we know nothing about him until he is thirty. Then, Jesus sacrifices himself by accepting his fate and going onto the cross. In the process he rejects the devils temptations to avoid punishment. Instead he faces and overcomes his Shadows in the solitude of the dessert. After a violent event and death on the cross, Jesus Christ is resurrected and reborn. Now, we will have to introduce a few more important new concepts before we can finish this essay. We have already mentioned the use of the mechanism of projection to identify Henris

By Genaro Delgado. University of Zaragoza Master Student.

Shadow as the cook. For Jung there is in every man an inner feminine facet and this is what he calls The Anima: The Anima is an unconscious factor incarnated anew in every male child, responsible for the mechanism of projection. It is both a personal complex and an archetypal image of woman in the male psyche. (Sharp, 1991: n. p.). Now, we will show textual evidence of Henris female side as it is projected onto female characters in the novel, particularly Villanelle. Villanelle is the female co-protagonist in the novel. She appears in a supernatural setting surrounded by mysteries and thriving in Venice, the city of mazes (49). Her character is introduced in the novel by her own narration, she is the daughter of a boatman, has webbed feet, open bisexual life, works in a casino and takes the pleasures of life without questioning where they come from. She gets married but her husband sells her to the French army as a vivandire (French for prostitute), after she abandoned him in their honeymoon trip. It is in Russia that she meets Henri. From there they desert together and return to Venice on foot. They have a sexual relationship but Villanelle looks up to him like a brother and does not want a lasting relationship. This situation creates some incestuous tension on Henris part. He losses his virginity under her experienced hands:

One night she turned around over suddenly and told me to make love to her. I dont know how. Then, Ill make love to you (122) She loves him but youre my brother, she tells him.

By Genaro Delgado. University of Zaragoza Master Student.

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Jung distinguished four broad stages of the Anima in his 1966 book, The Psychology of Transference. He personified them as Eve, Helen, Mary and Sophia. Ideally, Jung explains, a man proceeds through these four stages, as he grows older. Animas represent Henris higher feminine aspects: the vital mother Eve, the sexual energy of Helen of Troy, the spiritual life aspirations of Mary and the wisdom or Gnosis of Sophia. We will find textual evidence to show the evolution of Henris individuation process as reflected by his ascendance through the stages represented by his Anima projections in the novel. The two most important personifications of Henris Anima are the prostitute at the brothel and Villanelle. In the former Henri sees his primordial Eve Anima projection and in the latter his need to evolve from Helen, through Maria to Sophia. Henri finally attains what Jung called in Archetypes of the Collective Unconscious "the conquest of the Anima as an autonomous complex" (Jung 1959: 61) through the creation of a functional relationship between conscious and unconscious. D. Sharps contention that: Most commonly, because of the initially close tie between the Anima and the protective mother-imago, this projection falls on the partner (Sharp, 1991: n.p.), offers a clear explanation for Henris behaviour at the brothel. At this stage, Henri strongly identifies with his mother as is shown by his reverence and love of her figure. But it is when he first goes to a brothel that we see to what extent his relation to his mother becomes a personal complex. The Cook there mistreats a woman and is about to punch her when Henri, who is standing still, tells us that another prostitute stepped forward and coshed him on the back of the head (15). It is this woman, not Henri, who steps forward to protect the other woman who was facing the Cooks violence. But more interesting is the complaint he makes when the woman goes to caress her friend

By Genaro Delgado. University of Zaragoza Master Student.

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kissing her swiftly on the forehead: She would never do that to me (15). Henris longing for mother care is evidenced by this remark. He is not interested in sex. He only wants this woman to caress him and to protect him too, as his mother would. Frustrated and upset, he leaves with the excuse of a headache and having had no sex. Henri really wanted the womans protection, not sex. As we have seen, a progressive or ascendant identification with a yet higher Anima figure is a natural process in a mans lifetime: No matter where a man is in terms of psychological development, he is always prone to see aspects of his Anima, his soul, in an actual woman D. Sharp states in Jung Lexicon (Sharp, 1991: n. p.). We have already provided textual evidence of Henris identification with his Anima-as-Eve. We are now to show textual references to his ascension towards the Anima position projected in Villanelle, which goes from that of Animaas-Helen of Troy, through Mary, to Sophia. Henri first projects on Villanelle the Helen of Troy figure representing beauty and sexual drive. She is the first and only sexual partner of Henri, if we consider that the prostitute at the brothel awoke no sexual desire in Henri but rather expectations of motherly care pointing to an initial mother complex. We have seen how Henri loses his virginity in the hands of Villanelle. Villanelle represents for Henri the unknown power of sex, he is afraid of the power of her body (123). He instantly falls in love with Villanelle the first time they meet: and I fell in love with her (88). Henri was deserting and Villanelle asked if she could join in: I can help you she says, I would have taken her even if shed been lame (88), Henri reflects. This indicates that he is not interested in her protection. He is not looking for motherly care anymore. Instead, he is attracted to her beauty: I thought she was the most beautiful woman (109), Henri later tells us. He is also attracted to her sexual availability or at least shocked by it. He blushes after Villanelles open

By Genaro Delgado. University of Zaragoza Master Student.

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remarks about how she got some food: I fucked for them (87). She was a vivandire after all, a prostitute only for the officers, and he was a puritan at heart. Henri swiftly moves up from the level of admiring Villanelles beauty and feeling sexually attracted to her, to the fruition of spiritual life, aided by her projection as Mary. Henri desexualizes her image and need of her; he realizes that Villanelle has her own need to be independent. And she helps Henri to realize the difference between love and lust: infatuation. First love. Lust (123), she gives him new meanings for passion beyond the religious context. Henris search for meaning and knowledge about Villanelle represents the last stage in his projection of Villanelle as Sophia. It is through the evolution of his love for Villanelle that Henri finally realizes some of his deeper philosophical questions. He comes to understand that the human longing for freedom is really a longing for love: The Holy Grail. Freedom means different things for different people. Some people find freedom in things like fantasy, God or the present. But for Henri freedom means, being able to love (154). Henry realizes that: To love someone else enough to forget about yourself even for one moment is to be free (154). He debunks religious dogma by exposing the idea that the love of images (God/Napoleon) for what we want them to be is not real love. He questions the religious method to find answers to existential questions and places the inner experience at the centre. All individuals should find their own answers, Henri argues (154), and have the freedom to make their own mistakes, he finally concludes (157). Villanelle has helped throughout Henris personal development from sex, to spirituality and onto wisdom. Jung suggested that if the encounter with the Shadow is the "apprentice-piece" in a man's development, then coming to terms with the Anima is the "master-piece" (Jung, 1959: 61). Well, Henri is

By Genaro Delgado. University of Zaragoza Master Student.

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about to experience both close together, following each other. Henri helps Villanelle to rescue her trapped heart from a jar off the house of her lover, The Lady of Spades. Henri takes Villanelles beating heart from the eighth room of her Venetian palace, and returns it to her chest. He is now elevated. After having been helped by her to desert and find his way, Henri is becoming increasingly independent and mature. Villanelle is now indebted to Henri for life as he returned her life/Soul/Heart back. But now destiny crosses their path with a shocking turn of events. Suddenly, Henri sees a mysterious man slapping Villanelles face. As Henri confronts him to protect her, he finds out that Villanelles husband is actually the Cook, his Shadow. He was again being violent to a woman, but this time unlike in the brothel, he will not stand still. Now he is ready and does confront the Cook, killing him with Villanelles Venetian knife. But the violence brings upon Henris war traumas: he cannot control himself and yields to the pull of his survival instinct. He cuts the Cooks chest open and scoops his bleeding heart out. Henri then, again to protect Villanelle as main suspect, confesses the crime and is convicted for life to a mental institution. Villanelle is now free from her husband as he is killed and gains economic independence for she inherits his fortune. With the help of Henri, Villanelle has got her heart/vitality back, no husband to bother her, and financial independence. Only then is Villanelle able to overcome her obsession with the Lady of Spades and return to her real life, the most solid, the best known and one that does not involve having to feed on Shadows again (146). Villanelle now feels indebted to Henri and so she wants to help him. First she buys off the judge to get Henri a life sentence in Saint Servelo, instead of death. Then she pays the wardens to let him escape. Henri accepts the first but refuses the escape and soon after his arrival there he stops wanting to meet Villanelle again. Villanelle

By Genaro Delgado. University of Zaragoza Master Student.

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will be returning to the rock in the hope of seeing Henri come back, but his refusal is a sign of his conquest of the Anima as an autonomous complex. He does not need a projection to face his unconscious anymore he is now consciously looking at independently. The violent pull produced by the murder of the Cook leaves Henri to face his repressed feelings of guilt, fears and war traumas. In this suspended state, which is the meaning of crucifixion, Henri is faced with unconscious guilt and fear as he sees ghosts and hears voices he is afraid of. But he eventually starts paying conscious attention to them and unravelling the mysteries of his own psyche. At first he is possessed by his Shadow as he tries to strangle himself and Villanelle. This represents the result of Henris fall after the violent pull. Napoleon comes to visit him too, but Henri does not look up to him anymore, he rather pities him in the end. Henri is afraid of those voices of dead soldiers coming from the windowsill; they echo the violence and horror of the Russian campaign and reflect his war trauma, showing his remorse and survivor guilt. His mothers ghost represents the guilt of not being there for her. Henri was not by her side when she died. Instead, he was fighting a war for Napoleon where other men were also dying. The ghost of his mother is the only peaceful one, actually looking after Henri. In the archetypal story of the passion of Christ, there are two prominent female figures: the Virgin Mary (Jesus mother), and Mary Magdalene, supposedly a prostitute and, some suggest, his partner. Without getting into the factuality of the latter we will take its symbolical value anyhow. Both Anima figures were there during Jesus passion on the cross. The Virgin Mary was at the cross with Jesus and so was Henris mother as a ghost the only peaceful one. In the biblical story, Mary Magdalene was a prostitute who changed it

By Genaro Delgado. University of Zaragoza Master Student.

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her life after meeting Jesus. Similarly, as we have explained, Villanelle found freedom with the help of Henri. Mary Magdalene washed Jesus feet symbolically looking after him. Villanelle helped Henri on his pilgrimage reading the maps and walking along with him. Villanelles webbed feet bring the readers attention to this part of the body and the water element. Mary Magdalene, like Villanelle, had a debt of gratitude to Jesus/Henri as they both recovered their lives with their help. Magdalene cared for Jesus along the course of his defilement and passion on the cross only to later be told to go. The same happened to Villanelle, who Henri refused to see even though he was still in love with her. Henri eluded Villanelle contact so as to let her go her way. He avoided her visits in order to concentrate on his suspended state of crucifixion, facing his unconscious fears/guilt with the passion of love. He is able to do so with his conquest of the Anima as an autonomous complex. He familiarises his conscious with his unconscious desires and fears. Villanelle kept coming through the years to certify that he had resurrected from the cross. She wants to thank him for recovering her life and to confirm his process of transcendence. Her behaviour at the end of the novel parallels that of the Mary Magdalene character in the biblical story when she went back to the hollow rock where Jesus body was buried only to find that he was not there anymore. We have to some degree drawn parallels between these two passion stories. Henri rebels against the religious views of the time in the form of Church and Empire. He questions the meaning of freedom and truth. Two women help him enormously. He faces his demons or inner desires and fears reflected by his Shadow: symbolically the devil. Henri makes functional the relationship conscious-unconscious with the conquest of the Anima as an autonomous complex. Sitting still on a rock, Henri resurrects from his
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By Genaro Delgado. University of Zaragoza Master Student.

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Jungian crucifixion. He becomes individualised when he refuses the comfort of societys given answers and dogmas. He finds passion in the freedom to make his own mistakes and in the search for meaning just as Jesus finds it in his story. The Gnostic gospel of Thomas suggests that Mary Magdalene was not only a friend but also her disciple. It has been further suggested that she was her lover too and could have got pregnant, as Villanelle does in Wintersons The Passion. Maybe she was a red-haired girl too and this story is Jesus story as it could have well been if he was born a Frenchman in the middle of the Napoleonic wars. The use of parallels with the religious stories could be Wintersons attempt to recycle archetypal mythology already in the psyche of readers, to present a modern version of an old story or merely an unconscious product of the authors strong religious background. But more than a coincidence, what we have to a certain degree proved here is that Henris psychological evolution, his relation to other characters in the novel, and his attitude towards his own inner life display some relevant parallels with the biblical story of Jesus. Throughout The Passion, Henri provide us with a mixture of reality and fiction, he portrays religious Christian parallels, as we have seen, and offers repetitions like I am telling you stories, trust me that brings to mind what Doctor Who, another fictional character, once said: I'll be a story in your head. But that's OK: We're all stories in the end. Just make it a good one, eh? (Mofart and Haynes, 2010: n. p.)

By Genaro Delgado. University of Zaragoza Master Student.

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Works Cited
Jung, Carl G. The Collected Works of C.G. Jung, 19 vols. Trans. R.F.C. Hull. G. Adler and , R. F. C. Hull, eds. Princeton, N.J.: Princeton University Press, 1969. Archetypes of the Collective Unconscious (1934). The Archetypes and the Collective Unconscious (1959). In The Collected Works of C. G. Jung, Vol. IX, Part I, 1969??, pp. first and last pages here. The Psychology of Transference. 1966. Complete this missing entry. The Practice of Psychotherapy: Essays on the Psychology of Transference and other Subjects (1966??) In The Collected Works of C. G. Jung,Vol. XVI.., 1969??, pp. first and last pages here. Two Essays in Analytical Psychology (1953). In The Collected Works of C. G. Jung, Vol. VII. 1969??, pp. idem. Moffart, Steven (writer) and Toby Haynes (director), Doctor Who, The Big Bang, Series 31 episode 13 (2010). Broadcast on 26 June 2010 on BBC One. Accessed on 22/07/2012 at:

http://www.imdb.com/title/tt1607759/quotes Sharp, Daryl. Jung Lexicon: A Primer of Terms and Concepts . Toronto: Inner City Books, 1991. Accessed on 25/06/2012 at:

http://www.psychceu.com/jung/sharplexicon.html

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Essay handed to Susana Onega on the subject of British Literary studies. First semester. 2011-12

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Formatted: Spanish (International Sort)