Module 7 This discussion addresses the following outcomes: Interpret the reactions to the Dred Scott v. Sanford court  case from several historical perspectives and consider the case’s role  in the sectional crisis over slavery and the 1860 election. (CO#4, CO#5, CO#6/Gen. Ed. Outcome 4.2) The 1857 Supreme Court decision Scott v. Sandford was  significant in the decade preceding the Civil War. Those who instituted  the case were concerned with the fate of Dred Scott and his wife, and  also in exploring slavery’s legal limits. Scott v. Sandford  opened the proverbial Pandora’s Box by revisiting and reconsidering the  legal and political compromises that had occurred over the years. Its  controversial outcome might have given the South more legal ground to  stand on but also stimulated Northern opposition to the South and stoked  fears about the “slave power.” Consider, for example, the political cartoon above published by an unknown artist in Harper’s Weekly  in 1860. The cartoon showcases the effect Americans believed the Dred  Scott decision would have on the consideration of slavery in the 1860  presidential election. Harper’s Weekly  (Links to an external site.) describes the scene as: The burning question of the future of  slavery in the United States was addressed by several of the contenders  during the 1860 race. Here the four presidential candidates dance with  members of their supposed respective constituencies. The music is  fiddled by Dred Scott, the former slave whose suit precipitated the  court's decision. Scott sits on a chair at center. In the upper left is  Southern Democrat John C. Breckinridge. He is paired with Democratic  incumbent and ally James Buchanan, depicted as a goat or (as he was  nicknamed) "Buck." At the upper right Republican Abraham Lincoln prances  arm-in-arm with a black woman, a pejorative reference to his party's  alignment with the abolitionists. At lower right Constitutional Union party  candidate John Bell dances with an Indian brave. This pairing is  puzzling but may allude to Bell's brief flirtation with Native American  interests. (For one instance of the use of the Indian as a nativist  symbol see "Know Nothing Soap," no. 1854-3.) At lower left Stephen A. Douglas dances  with a ragged Irishman. Associated with Douglas in several cartoons (see  "The Undecided Political Prize Fight," no. 1860-22) the Irishman, here  wearing a cross, may be intended as a reference to Douglas's backing  among Irish immigrants and allegations of the candidate's Catholicism. In preparation for this discussion, read a few of the editorials from the Dred Scott portion of the Secession Era Editorial Project  (Links to an external site.)  compiled by the Furman University Department of History. You can sort  either by date of publication or by newspaper and party (Republican,  Democrat and American or “Know Nothing”). Be aware that newspapers back  then were openly partisan, so the notion of detachment.

1. Module 7
This discussion addresses the following outcomes:
Interpret the reactions to the
Dred Scott v. Sanford
court case from several historical perspectives and consider
the case’s role in the sectional crisis over slavery and the 1860
election. (CO#4, CO#5, CO#6/Gen. Ed. Outcome 4.2)
The 1857 Supreme Court decision
Scott v. Sandford
was significant in the decade preceding the Civil War. Those
who instituted the case were concerned with the fate of Dred
Scott and his wife, and also in exploring slavery’s legal limits.
Scott v. Sandford
opened the proverbial Pandora’s Box by revisiting and
reconsidering the legal and political compromises that had
occurred over the years. Its controversial outcome might have
given the South more legal ground to stand on but also
stimulated Northern opposition to the South and stoked fears
about the “slave power.”
Consider, for example, the political cartoon above published by
an unknown artist in
Harper’s Weekly
in 1860. The cartoon showcases the effect Americans believed
the Dred Scott decision would have on the consideration of
slavery in the 1860 presidential election.
Harper’s Weekly

2. (Links to an external site.)
describes the scene as:
The burning question of the future of slavery in the United
States was addressed by several of the contenders during the
1860 race. Here the four presidential candidates dance with
members of their supposed respective constituencies. The
music is fiddled by Dred Scott, the former slave whose suit
precipitated the court's decision. Scott sits on a chair at center.
In the upper left is Southern Democrat John C. Breckinridge.
He is paired with Democratic incumbent and ally James
Buchanan, depicted as a goat or (as he was nicknamed) "Buck."
At the upper right Republican Abraham Lincoln prances arm-
in-arm with a black woman, a pejorative reference to his party's
alignment with the abolitionists.
At lower right Constitutional Union party candidate John Bell
dances with an Indian brave. This pairing is puzzling but may
allude to Bell's brief flirtation with Native American interests.
(For one instance of the use of the Indian as a nativist symbol
see "Know Nothing Soap," no. 1854-3.)
At lower left Stephen A. Douglas dances with a ragged
Irishman. Associated with Douglas in several cartoons (see
"The Undecided Political Prize Fight," no. 1860-22) the
Irishman, here wearing a cross, may be intended as a reference
to Douglas's backing among Irish immigrants and allegations of
the candidate's Catholicism.
In preparation for this discussion, read a few of the editorials
from the Dred Scott portion of the
Secession Era Editorial Project
(Links to an external site.)
compiled by the Furman University Department of History.
You can sort either by date of publication or by newspaper and
party (Republican, Democrat and American or “Know

3. Nothing”). Be aware that newspapers back then were openly
partisan, so the notion of detachment or objectivity does not
apply. Read through at least the editorials, balancing Northern
and Southern newspapers.
Please then read an excerpt of the Court’s decision at
Key Excerpts from the Majority Opinion, Dred Scott (Links to
an external site.)
which should provide you with a good summary Chief Justice
Roger Taney’s reasoning. In addition, be sure to read the
Module Notes and Chapter 13: “
The Sectional Crisis (Links to an external site.)
” in
The American Yawp
and view
Irrepressible Conflicts (Links to an external site.)
.
Using the primary and secondary source materials above as
evidence, consider the following in a post of at least
250 words
:
Based on the articles you chose, how did Northern and Southern
newspapers argue that the
Scott vs. Sandford
decision would affect the sectional debate? What previous
political compromises regarding slavery in the western
territories would have to be changed or at the least revisited in
the wake of the case?
From the perspective of 1857, summarize the predictions of
what the
Scott v. Sandford
decision would mean for the US.

4. paper #2
M7D1: Finding the Animus, Shadow, and Self in “The
Erlenmeyer Flask”
7 7 unread replies. 7 7 replies.
Applying a Jungian analysis to characters gives us an
opportunity to probe more deeply into various myths. The main
elements found in a Jungian analysis of myths include the
animus, the shadow, and the self. In this discussion, we are
seeking to find and identify the characters of the animus, the
shadow, and the self in the
X-Files
episode “The Erlenmeyer Flask.”
Scully is identified as a negative anima for the character of
Mulder. For this discussion question, analyze the episode from
Scully’s point of view, rather than from Mulder’s.
In your initial post, identify which characters in “The
Erlenmeyer Flask” fill the role of the self, the animus, and the
shadow for the character of Scully. Explain your choices and
the purpose of each of these character types in this myth. Be
sure to discuss why they are important.
Module 7: Module Notes: Performing a Jungian Analysis
We have acquired a great deal of information in this course
through six modules of study. We have also found and explored
a few ways of categorizing and analyzing this information,

5. including a Rankian analysis of Hero Myths (Module 6), and
Grimes’ categorization and analysis of negative father figures
(Module 6). We now move to Jungian analysis, following the
work of Carl Jung, and we will apply his approach by
examining dreams as myths.
In our reading during this module from Chapter 35, we find out
about Carl Jung and his approach to analyzing dreams.
According to Jung, dreams have symbolic meaning. An
example of symbolic meaning in a Jungian analysis could
include dreaming about drowning, but never having a physical
experience of it. The drowning in the dream could symbolize
events in the person’s life that are making him or her feel
trapped, “sucked under” the surface, or other events that cause
anxiety. When a person dreams of flying, this may be a symbol
of freedom or facing a new challenge.
By treating myths as dreams and applying a Jungian approach,
we are able to study a character’s psychic development.
Fairy tales and myths reveal hidden feelings and conflicts.
Different characters in the stories can represent different points
of view inherent in the internal conflicts of one main character.
Jungian analysis says that all characters in a story or myth
represent different aspects of the unconscious of a single
person.
To begin a Jungian analysis, we have to first determine who is
narrating the “dream” or myth. To do this, we should ask
ourselves who we imagine ourselves to be within the myth. The
character we most closely identify with is the narrator.
Once we determine the narrator, we move outward from the
main characters and look at the interaction between these
characters and the main character.

6. According to Jung (in Thury and Devinney, p. 632), characters
can be treated as if they represent “the psychic potencies and
personal tendencies” of the dreamer him/herself. The
archetypes that we can look for in myths when conducting a
Jungian analysis include the shadow, the anima
(female)/animus (male), and the self.
When we begin assigning the Jungian archetypes of the shadow,
animus, and the self, we start with the relation of these
characters to the main character, who often is the hero. See
Modules 2 and 3 for a refresher on the hero archetype and the
Hero’s Journey.
Archetypes in Jungian Analysis
This table outlines the archetypes that we can look for in myths
when conducting a Jungian analysis and includes the
characteristics of the Shadow, the Anima (female)/Animus
(male), and the Self.
The Shadow – represents frightening or hidden aspects of the
person, qualities considered opposite to the person’s self image.
Same sex as the narrator/main character
Unknown or little known attributes and qualities of the ego
(the main character). When the character makes an attempt to
see his shadow, the character becomes aware of the qualities
and impulses he denies in himself but can see plainly in
himself (541). The Anima (female) or Animus (male) – Anima
belongs only to a man, but is the figure of a woman. Animus
belongs only to a woman, but is the figure of a man. Leads to
The Self.

7. Opposite sex as the narrator/main character
Anima – personification of all feminine psychological
tendencies in a man’s psyche. The Anima turns up behind The
Shadow. It brings up new and different problems. The man’s
Anima is, as a rule, shaped by his mother. A common negative
Anima is the Witch. Negative Animas cause the male narrator
to destroy himself. Positive Animas lead the male narrator to
growth.
Animus – Male personification of the unconscious in woman.
Usually appears as a muscled strongman, or a romantic hero, a
wise leader, or a saint. The Animus is influenced by the female
narrator’s father. The Self – this is the totality of the person.
It is an inner guiding factor.
Same sex as narrator/main character
The Self – inventor, organizer, source of dream images. The
Self can appear as a helpful animal, a wise old man or woman,
a royal couple, a rock, crystal or mirror.
When we start to apply a Jungian analysis to a myth, according
to Thury and Devinney (p. 633), we should break the story into
parts and look for points at which the main character/narrator
changes, paying particular attention to the changes that take
place because of an interaction with another archetype.
The Wicked Witch of the West, melting after being doused by
Dorothy. From the first edition of The Wizard of Oz. Date:
1900. Author: William Wallace Denslow. Library of Congress.
Image is in the public domain.
Our course text provides a good example of a Jungian analysis

8. of
The Wizard of Oz
(on page 634).
Dorothy – the narrator/main character - arrives and meets
Glinda – the shadow
Dorothy meets the Wicked Witch of the West – the shadow
Dorothy is greeted by the Munchkins – the self
Dorothy receives the ruby slippers – the self
The Scarecrow, the Tin Man, and the Lion are all animus
archetypes.
The shadow and the self archetypes are closely linked. The
shadow initially seems threatening to the narrator/main
character, but when the narrator accepts the shadow and
integrates the characteristics of the shadow into the narrator’s
own understanding of himself (or herself), it becomes clear that
the shadow has been part of the narrator all along.
While watching the
X-Files
episode “The Erlenmeyer Flask,” keep in mind that we are told
in our readings that Scully is a negative anima figure because
she interferes with Mulder’s understanding of the truth.
Once we identify the narrator, we can work our way through the
remaining characters and identify them as the shadow,
animus/anima, and the self. Identifying these archetypes allows
us to analyze the interactions of these characters with the
narrator, and we can determine their functions and importance

9. within the myth.
Let’s move now to a hands-on application of Jungian analysis to
“The Erlenmeyer Flask” episode of the
X-Files
as we find the animus, shadow, and self.
Hartman, D., & Zimberoff, D. (2009).
The Hero's Journey of Self-Transformation: Models of Higher
Development from Mythology (Links to an external site.)
.
Journal Of Heart-Centered Therapies
, 12(2). Retrieved from
http://vlib.excelsior.edu/login?url=http://search.ebscohost.com/
login.aspx?direct=true&db=a9h&AN=47599802&site=eds-
live&scope=site
View:
Required
“The Erlenmeyer Flask” The X-Files. Season 1, Episode 24.
1994. Director, R.W. Goodwin. Writer, Chris Carter.