Replacement child syndrome

The Replacement Child. A Jungian Perspective.

Analysis of the Russian folk tale "The Witch and the Sun's Sister".

The Russian folk tale "The Witch and the Sun's Sister".

In a certain kingdom, in a distant land, there lived a Tsar and a Tsarina, who had a son, Ivan Tsarevich, who was mute from birth. He was about twelve years old, and once he went to the stable to see his favorite groom. The groom always told him fairy tales, and now Ivan Tsarevich came to hear tales from him, but he heard something else.

"Ivan Tsarevich!" said the groom. "Your mother will soon give birth to a daughter, and you a sister; she will be a terrible witch, she will eat both your father and mother, and all the people under their command; so go, ask your father for the best horse there is - as if to ride, and leave from here wherever your eyes may lead you, if you want to escape trouble."

Ivan Tsarevich ran to his father and spoke to him for the first time in his life; the Tsar rejoiced so much that he did not even ask: why did he need a good horse? He immediately ordered the best horse from his herds to be saddled for the Tsarevich.

He rode for a very long time; he came upon two old seamstresses and asked them to take him in. The old women said:

"We would be glad to take you, Ivan Tsarevich, but we do not have long to live. As soon as we break a chest of needles and sew a chest of threads, death will come immediately!" —

Ivan Tsarevich cried and rode on. He rode for a very long time; he rode up to Vertodub and asked:

"Take me in!" —

"I would be glad to take you, Ivan Tsarevich, but I do not have long to live. As soon as I pull out all these oaks with their roots, my death will come immediately!" —

The Tsarevich cried more than before and rode further and further. He rode up to Vertogor, began to ask him, and he replied:

"I would be glad to take you, Ivan Tsarevich, but I myself do not have long to live. You see, I am set to roll mountains; as soon as I finish with these last ones, my death will come!" —

Ivan Tsarevich burst into bitter tears and rode even further.

He rode for a very long time; he finally arrived at the Sun's sister's dwelling. She took him in, fed him, watered him, and cared for him as if he were her own son. The Tsarevich lived well, but every now and then he would become sad: he would want to know what was happening in his native home. He would climb a high mountain, look at his palace, and see that everything had been eaten, only the walls remained! He would sigh and cry.

Once, he looked and cried like that - he returned, and the Sun's sister asked:

"Why are you, Ivan Tsarevich, tear-stained today?" —

He said:

"The wind blew in my eyes." —

The next time it was the same; the Sun's sister took it upon herself and forbade the wind to blow.

And for the third time, Ivan Tsarevich returned tear-stained; but there was nothing to be done - he had to confess everything, and he began to ask the Sun's sister to let him, the good young man, visit his homeland. She would not let him, but he begged her; finally, he persuaded her, she let him visit his homeland and gave him a brush, a comb, and two young apples for the road: no matter how old a person was, if he ate an apple - he would instantly become younger!

Ivan Tsarevich came to Vertogor, only one mountain remained; he took his brush and threw it into the open field: out of nowhere - suddenly tall, tall mountains grew out of the ground, their tops reaching to the sky, and there were so many of them - countless! Vertogor rejoiced and cheerfully set to work.

After a long or short time - Ivan Tsarevich came to Vertodub, only three oaks remained; he took the comb and threw it into the open field: out of nowhere - suddenly thick oak forests rustled and rose from the ground, tree thicker than tree! Vertodub rejoiced, thanked the Tsarevich and went to uproot century-old oaks.

After a long or short time - Ivan Tsarevich came to the old women, gave them an apple each; they ate, instantly became younger and gave him a handkerchief: if you wave the handkerchief - a whole lake will appear behind you!

Ivan Tsarevich returns home. His sister ran out, met him, and caressed him.

"Sit down," she says, "brother, play the gusli, and I will go - prepare dinner." —

The Tsarevich sat down and plucked the gusli; a mouse crawled out of its hole and said to him in a human voice:

"Save yourself, Tsarevich, run quickly! Your sister has gone to sharpen her teeth." —

Ivan Tsarevich left the chamber, mounted his horse, and galloped back; and the mouse ran along the strings: the gusli plucked, and the sister did not know that her brother had left. She sharpened her teeth, rushed into the chamber, looked - there was no one, only the mouse had slipped into its hole. The witch became angry, gnashing her teeth, and set off in pursuit.

Ivan Tsarevich heard a noise, looked back - his sister was about to catch up; he waved his handkerchief - and a deep lake appeared. While the witch swam across the lake, Ivan Tsarevich rode far away.

She rushed even faster... now she's close! Vertodub guessed that the Tsarevich was escaping from his sister, and began to uproot oaks and throw them on the road - he piled up a whole mountain! The witch had no way through! She began to clear a path, gnawing and gnawing, barely managed to get through, and Ivan Tsarevich was already far away. She rushed to catch up, chased and chased, a little more... and there was no escaping! Vertogor saw the witch, grabbed the highest mountain and turned it right onto the road, and placed another mountain on top of that one. While the witch climbed and scrambled, Ivan Tsarevich rode and rode and was far away.

The witch crossed the mountains and again chased after her brother... She saw him and said:

"Now you won't escape me!" —

Here she was close, about to catch up! At that very moment, Ivan Tsarevich rode up to the Sun's sister's chambers and cried out:

"Sun, Sun! Open the window." —

The Sun's sister opened the window, and the Tsarevich jumped into it with his horse.

The witch began to ask that her brother be handed over; the Sun's sister did not listen to her and did not hand him over. Then the witch says:

"Let Ivan Tsarevich go with me to the scales, whoever outweighs the other! If I outweigh him - then I will eat him, and if he outweighs me - let him kill me!" —

They went; first Ivan Tsarevich sat on the scales, and then the witch climbed on: as soon as she set foot, Ivan Tsarevich was thrown up with such force that he landed directly in the Sun's sister's chambers; and the witch-snake remained on the ground.

"She acquires the right to life, he - the right to death."

Yu.V. Vlasova

As Maris Porot writes, we are all, in a sense, replacement children. "In the Book of Genesis (Gen. 4:25), it is said that Adam again knew Eve outside of Paradise. This happened after the death of Abel, killed by Cain. '...And she bore a son and called his name Seth, for she said, God has appointed for me another offspring instead of Abel, for Cain killed him.' Seth became the first of the replacement children." (Porot 2014, p 17)

Perhaps that is why this problem is not taken into account as it should be. It seems that everything is simple: you tell the client that he is a "replacement child" and that's it, the problem is solved. But this, unfortunately, is not at all the case. Dale Mathers, in a conversation, once said that the issue of the replacement child is one of the most difficult issues in therapy. A situation that develops before birth and from which it is very difficult to emerge. It is difficult to see; it, like an ego-syntonic symptom, is perceived by the client as something self-evident, always present in life and not interfering with life. If the issue of the replacement child ever becomes a request, it is very rare. Usually, it emerges in therapy not in the first year, although, of course, everything is usually known, but not given importance. And a lot of effort is made, both by the therapist and by the client, not to notice this situation, to repress it. It is extremely unpleasant to discover that your client has a fused dead sibling. And to realize that this living client is an appendage, something insignificant... And yet, one still has to convey this to the client himself. Better not to talk about it - what was in the request? - separation anxiety? - that's what we'll work with. So, mom!

But the mother is precisely absent. For she is a grieving, absent, detached mother, a mother completely absorbed by the child who is no longer there. "It is important to emphasize that, as all authors have [already] understood, the most difficult case is the death of [another] child at an early age." (Green, 2005, p 340) André Green in his article "The Dead Mother" examines cases where the mother was available to the living child, and then, for some unknown reason, fell into depression. We have a different case - the mother first fell into depression, and then gave birth to a new child, but, it seems to me, we can look at this situation through Green's description: "The dead mother took away... the essence of love... her gaze, the tone of her voice, her scent...". Everything we can observe, everything gathers around the sensually charged ghostly image of the mother, according to Green, all the client's manifestations have a threefold purpose: 

"1. to keep the Self alive: by hatred of the object, by seeking exciting pleasure, by seeking meaning;

2. to resurrect the dead mother: to interest her, to entertain her, to restore her taste for life, to make her laugh and smile;

3. rivalry with the object of grief in premature triangulation." (Green, 2005, p 344).

Maurice Porot says that the emergence of the replacement child complex is based on "three main reasons. They are: the replacement child is born in an atmosphere of unresolved mourning; its purpose is to take the place of the deceased, and therefore it has no right to be itself; and, finally, it experiences an inexplicable sense of guilt." (Porot, 2014, p 12).

Why do I speak of the replacement child complex? In analytical psychology, the concept of a complex is defined as follows: "A complex is a collection of images and ideas grouped around a core, originating from one or more archetypes and characterized by a common emotional tone. Once active... complexes leave their mark on behavior and are characterized by affect, whether the person is aware of it or not." (Samuels, Shorter, Plaut, 1994, p 76) This description fully coincides with the feelings at the beginning of working with a client who has a deceased sibling - a concentrated, affectively charged emptiness nearby, its presence and influence are not consciously perceived or accepted. 

In this article, I want to discuss with you the Russian folk tale "The Witch and the Sun's Sister," to view it as a metaphor for a step-by-step instruction for a replacement child to accept the fact of replacement, and then to consider the possibilities of weakening the connection between the living and the dead, because, as we understand, there is no possibility of completely freeing oneself from this connection. If this connection disappears, our living client will also disappear, because at his very core, it is ingrained that he is only a faint impression of that ideal one whom he is supposed to embody for his mother. Which he, of course, cannot do. Simply because it is impossible. 

We will work with the fairy tale, analyzing it from a subjective perspective, that is, imagining that the entire plot unfolds within a single psyche. The title is "The Witch and the Sun's Sister," and the witch will be our main character, a metaphor for the client's ego with a replacement child complex. All the action of the fairy tale unfolds between the witch and the Sun's sister, between the ego and the Self. The Self in analytical psychology is the archetype of wholeness and order. The center and the entire psyche as a whole. "Symbols of the Self often possess numinosity (this is more than an experience of immense and overwhelming power; it is an encounter with a power that contains a yet-to-be-revealed, alluring, and fateful meaning) (Samuels, Shorter, Plaut, 1994, p 96) and carry a sense of necessity... They contain the power of the image of God." (Samuels, Shorter, Plaut, 1994, p 134)

The fairy tale begins with a classic opening, but presented with a certain inconsistency: "there once lived a king and a queen," meaning the tale says that the king lived, but the queen... And further - "they had a son, mute from birth." In folklore, mute can mean "from the other side," "not ours," "dead." "Both the word and the soul emerge from a person with the help of breath. More precisely, breath becomes, as it were, the material and conductor for the word. Analogies between the soul and the word are constantly drawn... The forest spirit, having taken possession of a person's voice, takes away his vital forces, and the person dies." (A.K. Baiburin, 2003, pp 393-394)

And then we have an absent, depressed queen and a dead ghost child, unmourned, unwept for. Twelve years, like twelve months or twelve hours, is a complete cycle, a sign that a certain stage has been passed, that a time of change is coming. Often in fairy tales, this indicates the onset of the time of initiation, the transition from childhood to youth. But here it is a different story. 

And this child goes to the stable to the groom to listen to fairy tales. From ancient times, the horse was considered an animal-guide to the world of the dead. The groom is the only figure who can speak with the mute Ivan, the figure who knows fairy tales, knows that Ivan will soon have a sister, predicts that "she will be a terrible witch," he is the one who decides when the tsarevich should speak with his father. Perhaps this is part of the father complex, or perhaps part of the father's side of the Self. Be that as it may, the tsar "rejoiced so much that he did not even ask," and gave him the best horse. "But what is the horse's service to the deceased? The horse is a riding animal. Therefore, Negelein is absolutely right when he says: "That the custom of giving the hero a horse to take with him at death is a consequence of its function as a carrier, bearer, or guide to a better side" (Negelein 1901a, 373)." (quoted from Propp, 1998) We see that the tsar experiences grief, he is in contact with what is happening, he sends the dead on his last journey, performs the ritual of farewell and, letting his son go, asks no questions. 

Ivan Tsarevich leaves. The idea of the road permeates the entire funeral rite. "This capacious universal concept in the funeral rite, as one of the transitional rites, is realized as a mediator of the spheres of life and death in a broad sense (it is no coincidence that agony is called a ford, and a dying person is said to be on the road, as is a child being born)." (L.G. Nevskaya, p 125, 1999) Along the way, he meets two old seamstresses, with whom he wants to stay, but they refuse him, saying that they themselves do not have much time left. Female figures guarding the boundary between consciousness and unconsciousness, this light and that.  They cannot keep him, his place is there, in the depths of the psyche, in those areas where there is no longer anything personal, no longer a connection between the ego and the Self, there is only the Self.

As he delves deeper, the characters he encounters become more and more archetypal, impersonal. Vertodub, Vertogor - giants tearing oaks and mountains from the earth, overturning them, returning them to the earth with their tops, rooting them in the sky. The sky turns into a dwelling place, the earth recedes, becoming more and more inaccessible. We can call them guardians of the boundaries between life and death, spirits of primeval ancestors, those forces that protect the space of consciousness from sudden, terrifying, destructive breakthroughs of the unconscious. "Two paths open before" replacement children: "genius" or "madness," with the former not excluding the latter. "Madness" progresses from psychic and social instability to more or less structured neuroses and further - up to serious mental disorders requiring hospitalization." (Porot, p 12, 2014) None of them can keep the Tsarevich, no one is sure that they will live long. 

Further, the Tsarevich reaches the Sun's sister. A very interesting crossroad here: the Sun has a sister whom the Tsarevich meets, but there is no mention of meeting her brother, the Sun itself, and the Tsarevich will have a sister who has not yet appeared in the tale, but her birth frightens him and forces Ivan to flee his native home. The Sun and its sister are an archetypal pair, symbolizing the Self, the center of the psyche. And she accepts Ivan Tsarevich, as it should be. He is safely hidden in the depths of the psyche. But. Something makes him go out and look at "his palace," he sees that "everything has been eaten" and cries. What kind of palace is this? What are these tears? Who is calling him, not letting him go? The answer, probably, can only be one - the Mother. The one who yearns for him, the one whom the new living child cannot satisfy. 

And now we will leave Ivan Tsarevich and turn to his sister, who ate everything and who is a "terrible witch."

The replacement child is born with the feeling that they are inherently bad. From Kristina Shelinsky's client case description: "She flinches: 'I know there's a devil hidden in me.' In elementary school, she felt the presence of this destructive force, as if it came from a past life!" (K. Shelinsky, p 14, 2013).

In him, his original, innate self struggles with what he was conceived for - to embody the Other. He must, even in the womb, resist the desire of the only one who is his entire world. 

"On that day I came into this world,

But I was not born, I merely resurrected.

Ask me who my mother

Wanted to see, giving birth to me.

No, not me, but another, the one

Who would bring her joy.

Storms raged over my head.

My childhood, it was terrible.

They named me after my brother – 

I myself remained nameless.

The brother who barely lived,

She loved him – not me.

Loved him so much that she even managed

To resurrect him by giving birth to me.

A stifled cry bursts out

From the depths of my being:

"How happy I would be, if only for a moment,

To be not someone else, but only myself!.." (Porot, p 96, 2014)

 And, of course, very often it happens that the child falls into a global feeling of guilt, because he can neither fulfill this desire nor overcome it. 

A child, when born, explores the world "by mouth"; the girl appropriates her mother, makes the world her own, she "eats" it, but cannot consume it entirely - the mother is absorbed by longing for the first, for the boy. James Barrie describes this very well - not a classic replacement child - in the scene where Peter Pan tells Wendy how he attempted to return to his mother, but his mother no longer waited for him - she had closed the window. "I believed that my mother would always keep the window open. Many moons passed before I returned. The window was closed. My mother had completely forgotten about me, and another baby slept in my bed." (James Barrie 2014) Peter's mother mourned her dead child, and his home is underground. But not Barrie's own mother, nor our supposed queen from the fairy tale. 

Ivan Tsarevich looks at his land and cries, but for some reason he does not admit to the Sun's sister what is happening to him. She, however, does everything precisely to hear the true reason for his tears. Why? Perhaps, when "he began to ask the Sun's sister to let him, the good young man, visit his homeland," and when he shows persistence, defending his desire "to visit" before her, it becomes clear how strengthened the ego has become in its desire for an encounter with the image of the dead sibling. And these are no longer the tears of a depressed mother, but the tears of a sister desperate in her hatred. The sister is a terrible witch; she undoubtedly hates this dead brother, who was imposed on her as an ideal model for her existence. But replacement children are not ready to acknowledge their hatred, although it is what seethes within them, breaking through in their behavior at the most inappropriate moments.  

A dream of a client whom I saw as a replacement child. She had a sister who died several years before her birth. In her dreams, a friend with the same name as her sister often appeared. The client always called her by a diminutive name, just like her sister. Of course, in the text, I do not use her real name.

Dream: A group of us went to an exhibition, and we needed to go back. Everyone got into the car, and there was one seat left. It was just me and Annushka. I gave in to her - let her go. I'll walk.

Setting off on his journey, Ivan Tsarevich receives gifts whose meaning is to strengthen the boundaries between consciousness and the unconscious, to divide between the psychoid depths of the Self, completely inaccessible to consciousness,  and the layers where the ego can descend in its journeys. 

A agonizing encounter for both. The witch is happy - this is her chance to devour her brother, to become him. This is her psychotic chance to "turn into her brother," as happened to Max in Porot's book. This is hope for both to break the thread of the meaningless connection created by the mother. But there is a mouse - a small, weak, healthy voice, an animal-guide that tells the Tsarevich - "run" and imitates his playing of the gusli, so as to keep the witch unaware that her brother has left for as long as possible.

The chase begins, during which a strong tension, a sharp dynamic is felt. All psychic processes are directed towards separation, but the strength and power of the replacement child are so great that the witch, gnawing through rocks and oaks, breaks through to the Sun. And here we see a seemingly strange turn in the fairy tale: "The witch began to ask that her brother be handed over; the Sun's sister did not listen to her and did not hand him over. Then the witch says: Let Ivan Tsarevich go with me to the scales, whoever outweighs the other! If I outweigh him - then I will eat him, and if he outweighs me - let him kill me."

The ego's conversation with the Self. "Hand over his head" - on the one hand, if literally, everything is clear, give him up alive. But, as one of the seminar participants on the fairy tale said: "to hand over his head is to give birth! After all, children are usually born headfirst"... This is not possible and the Sun's sister refuses the witch. And this is where something very important happens - the ego is willing to risk everything for this story to end. Eat - become Ivan, not eat - let him kill. The ego of the replacement child sees no other way. But there is a way out. To weigh themselves, who outweighs whom, to find out who is heavier, the real witch or the ghostly Ivan? The answer is obvious. But not for the witch - she doesn't know who is alive, she has no certainty about it. Scales are needed for this. And this is the option with which the Self completely agrees.

Scales - this symbol evokes many symbolic associations, but the main one is probably the scales from Egyptian mythology. The scales on which Osiris weighs the soul of the deceased, and decides where it should move next - into light or oblivion. Here is a very similar motif, but life itself acts as a test for who is heavier, for who is alive. The witch - the snake remains on earth. Alone. And this is her opportunity to find herself, to start living her own life. She gets the right to live, just as her brother gets the right to die.

"What is in equilibrium is true; what disturbs equilibrium is false. But if equilibrium is achieved, then what maintains it is false, and what disturbs it is true. Equilibrium is both life and death. For life to be complete, there must be a counterweight of death. If I accept death, my tree turns green, because dying intensifies life. If I immerse myself in the death that envelops the world, buds open on my tree. How our life needs death!" (C.G. Jung, p , 2009)

At the end of the tale, the witch gains an addition to her nameless name; besides being a witch, she is now also a snake. This is one of the most contradictory creatures in all folklore. The snake is both evil and good, wise and foolish (if desired, it can be deceived), weak and powerful, and so on and so forth. 

But this is what our witch needs to learn. And now she must plunge into a deeply depressive rethinking of her own life, in which she will meticulously piece together her own self, separating it from parental expectations and her attempts to embody them. 

Client's dream: I went to the park with someone and ended up in a swamp. Autumn. The water is black, covered with yellow leaves the size of birch or aspen leaves. Trees stand in this water (like in a spring flood).

I am lying on my back on the surface and not drowning. I am thinking that it is deep enough there and I am not lying on the bottom. And I think that probably there is a corpse under me. That it is probably clothed, since I don't feel a body. And it's not so disgusting, that is, if so, then I can lie there longer, and if it's not there - I won't have anything to lean on, and will I be able to stay afloat?

With my right hand, the back of my palm, I touch something smooth, slippery and hard, but not a body. And cold. This frightens me.

I see a tree to my right. And I think that it must have been a trunk, that in the water it became barkless.

But what I am lying on starts to move, and I end up neck-deep in water. I struggle, it is hard for me to swim. I try to swim towards those with whom we ended up here. They were also on the surface the whole time, perhaps in a boat. Or like me. But they liked everything.

I call for help. Or I think about it. It was daytime.

When we discussed this dream with the client, she was in despair. She said: "How can I go on living? I've lost my support."

So, what does the fairy tale "The Witch and the Sun's Sister" tell us, if we try to see in it a step-by-step instruction for working with the replacement child complex? 

1. For the psychologist to acknowledge the fact of replacement, always keep it in mind. To look through it at the client's dreams and stories. This is very difficult to do, because at the beginning of the work, the psychologist is caught up in the family myth, he himself is a replacement child, he listens but does not hear, does not speak. The spell of secrecy descends upon him, and it is very important to resist this spell. 

2. For the client to accept that they are a replacement child. And to begin to mourn their deceased sibling or someone in the family, someone unmourned, whom they are replacing. Because the grieving process in the family is stopped at the stage of denial, and this is the reason for the replacement. Gradually, the anesthesia recedes, sensitivity appears - the pain, despair, once frozen by the family, returns. But the client begins to live, begins to feel. They feel the family's pain, this must be remembered.

3. Carefully observe and record dreams - the line of connection, and then separation, will be clearly visible.

4. Understand that the client has a lot of fear, a lot of resistance - they are protecting their life, the life they know, the one they lived before meeting you. And which led them to you.

5. Be prepared for the fact that the exit from grieving will be an even deeper grieving - grieving for oneself. In which your client will learn to live independently, without relying on a ghost.

It is important to remember that it does not make much sense to talk about this process; it needs to be lived through, and this requires time, a lot of time. The psychologist must also be prepared for the force of archetypal transference to fall upon them - when the feelings of several generations will converge in the transference, and they - alone - will have to contain them, without denying or collapsing. 

 Kristina Shelinsky states that "the replacement child must symbolically 'kill' the dead, phantom personality of the deceased sibling within himself" (Shelinsky, p 20, 2013). I believe this is not necessary, although it is easier. The replacement child in the family must become one of those, perhaps the first and only, who acknowledges the fact of death, who bows before the face of Fate, recognizing its will, who sometimes does this for the entire lineage. 

And we must understand that the dead also desperately need grieving, separation, and farewell. That this connection is not needed by either the dead or the living. 

"Grieving is necessary. One needs to see the fetus or child, one needs to participate in the farewell ceremony. If it remains invisible, it remains in the unconscious as a constant presence." (K. Shelinsky, p 24, 2013).

Client's dream: Am I participating in a competition? I need to complete a certain relay, get somewhere. It's happening in a cave, red clay, orange tones... I'm crawling through a tunnel, it's narrow... I need to crawl to somewhere. 

Different heights. To get to the next level, you need to climb a white cloth. It hangs, something is printed on it, large font (cannot read), it's very long!

I cling with my hands, feeling someone hanging behind me... hanging on my neck? Annushka is hanging. I am hanging on the cloth, with my eyes closed. I opened my eyes - a lantern to the right, above.

She is very thin, smaller than me, translucent, has her own strength and weight.

It's hard for me. I need to catch my breath. But I realize I'm losing strength. I'm climbing with all my might. Am I being pulled up?

There was also that you climb up, a slab above you, somehow you have to climb... With your feet. Everything is so inhuman!

I climb in and realize - I'm in a dead end. No way out.

It becomes light. "You're doing great! This is the result. You made it!"

An elongated vase. There's something in it.

The project manager, a young man. Hairy, bearded. Jesus Christ? Hippie? He tells me: you must take the prize. Name yourself. Choose a designation for yourself.

But for me, everything is priceless-meaningless.

"Remember that you can know yourself, and that knowledge is enough, but you cannot know others and other things. Beware of knowing what lies outside you, or else your supposed knowledge will suffocate the life of those who know themselves. The knowing one can know himself. This is his limit." C.G. Jung (quoted from Shelinsky, p 24, 2013).

 

You can purchase Kristina Shelinsky's book "Individuation of Adult Replacement Children" in paperback here

And in Kindle format

Bibliography:

1. A.N. Afanasiev "Folk Russian Fairy Tales", publishing house "Sovetskaya Rossiya", M., 1978
2. M. Porot “L’enfant de remplacement”, Editions Frison-Roche, Paris, 2014
3. "French Psychoanalytic School" edited by A. Zhibo and A.V. Rossohin, "Peter", 2005, article by A. Green "The Dead Mother"
4. Critical Dictionary of C. Jung's Analytical Psychology edited by E. Samuels, B. Shorter, F. Plaut, "Essi", M., 1994
5. A. Baiburin, article "Ethnographic Notes on Language and Word in Russian Tradition", lecture delivered in Oxford in 2003, http://anthropologie.kunstkamera.ru/files/pdf/003/03_13_baiburin_k.pdf
6. Collection "The Sounding and Silent World. Semiotics of Sound and Speech in Traditional Slavic Culture", M, "Indrik", 1999
7. V. Propp, "Historical Roots of the Fairy Tale", "Labyrinth", M, 1998 http://www.e-reading.club/book.php?book=46789
8. Kristina Shelinsky article "Replacement Children. Dreams and Existential Questions of Clients Whose Relatives Have Died or Disappeared", journal "Jungian Analysis", No. 1, 2013.
9. James Barrie "Peter Pan", "Eksmo", M., 2014
10. C. G. Jung The Red Book – New York: Norton and Company, 2009