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Were believed to reveal the desires of the unconscious through slips of the tongue. Below is an example

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Lacan believed the psyche to be in three parts that control our behavior and desire, which included the real, the imaginary order, and the symbolic order or the big other.

1) The Real.
This is that which exists outside of language, where nothing exists but need. Lacan believed that only in our neo-natal state were we close to achieving this real state as "a baby needs and seeks to satisfy those needs with no sense for any separation between itself and the external world or the world of others." This state, to Lacan, is a state of wholeness that is lost when language is introduced to the baby. Lacan believed the real to be an impossible state once removed through language, as that which allows us to express (language) prevents us from expressing the inexpressible(the real). however impossible, the real still influences us as the barrier against our fantasies and language fail.

2) The Imaginary Order.
This is what marks the transition from the primal need to Lacan's concept of demand. While the needs of a baby, for example, a demand to Lacan is intrinsically unsatisfiable. This stage is defined by the relationship between the self and the object that is desired to be a part of the self. for example, "once a child begins to recognize that its body is separate from the world and its mother, it begins to feel anxiety, which is caused by a sense of something lost. The demand of the child, then, is to make the other a part of itself, as it seemed to be in the child's now lost state of nature (the neo-natal months). The child's demand is, therefore, impossible to realize and functions, ultimately, as a reminder of loss and lack". This imaginary state continues to hold influence throughout the adult life.

3) The Symbolic Order (or the "big Other").
Whereas the imaginary is all about equations and identifications, the symbolic is about language and narrative. Once a child enters into language and accepts the rules and dictates of society, it is able to deal with others. The acceptance of language's rules is aligned with the Oedipus complex, according to Lacan. The symbolic is made possible because of your acceptance of the father, those laws and restrictions that control both your desire and the rules of communication: "It is in the name of the father that we must recognize the support of the symbolic function which, from the dawn of history, has identified his person with the figure of the law". Through recognition of the Name-of-the-Father, you are able to enter into a community of others. The symbolic, through language, is "the pact which links... subjects together in one action. The human action par excellence is originally founded on the existence of the world of the symbol, namely on laws and contracts".

https://www.cla.purdue.edu/english/theory/psychoanalysis/lacandesire.html

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Lacan believes that the source of psychosexual conflict is the inability of our perception of the linguistic and social version of reality to give way when the truly real, an existence beyond language and expressibility, and the subsequent battle between the two. he states that we are so dependent on the linguistic version of reality that the true reality, when it appears, is disruptive. Basically, out world is constructed through language, and the true reality is one that exists outside of language.

Desire and connections are created through language, much like in Sassure's signifier and signified only referring to psychic representations created by culture and history as opposed to physical objects such as trees.

Desire to Lacan is stuck in social structures and the fantasy version of reality that is introduced through language. Even our unconscious desires are organized by the linguistic system that Lacan terms the symbolic order or "the big Other." Desire then, is not of our own individual creation but one of cultural ideologies created by language. Even the aspect of our lives that is belied to be the most private is controlled by the superego, which commands every person to enjoy.

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this is so you can see freud in all his glory you're welcome

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this is so you can see freud in all his glory you're welcome

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"In Tolkien’s The Lord of the Rings, the character of Frodo is clearly pitted against his shadow figure, Gollum. Gollum represents all the things in Frodo’s unconscious self that Frodo has not psychologically recognized. As the novel progresses, Frodo becomes more like Gollum, and ultimately acts as Gollum would, claiming the ring for himself. Integration of the shadow involves a descent into the underworld, and such is Frodo’s journey into Mordor, a place where all things have become corrupt representing shadow domination. The shadow must be accepted or it continues to rule the personality.

In order for Frodo to be considered individuated by a Jungian literary critic, he must harness the power of his shadow to achieve wholeness. This is beautifully effected by Gollum’s death, where he bites off Frodo’s finger, and then through his own malicious joy teeters on the edge of the precipice in Mount Doom’s cavern before falling into the molten lava below, thus completing Frodo’s quest.

The theme of relatedness between Frodo and Gollum is remarkably consistent in the novel as Frodo is first revolted by, and then comes to pity Gollum. Frodo needs him psychologically to fulfill his task. Further, Frodo represents individuation by leaving Middle Earth to dwell forever for the elves in a paradise like place. A fully individuated character no longer belongs in the real world, as individuation is a lifelong process."

http://www.wisegeek.com/what-is-jungian-literary-criticism.htm

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The Architects

But, as you'd expect, they are very
Impatient, the buildings, having much in them
Of the heavy surf of the North Sea, flurrying
The grit, lifting the pebbles, flinging them
With a hoarse roar against the aggregate

They are composed of — the cliffs higher of course,
More burdensome, underwritten as
It were with past days overcast
And glinting, obdurate, part of the
Silicate of tough lives, distant and intricate

As the whirring bureaucrats let in
And settled with coffee in the concrete pallets,
Awaiting the post and the department meeting —
Except that these do not know it, at least do not
Seems to, being busy, generally.

So perhaps it is only on those cloudless, almost
Vacuumed afternoons with tier upon tier
Of concrete like rib—bones packed above them,
And they light-headed with the blue airiness
Spinning around, and muzzy, a neuralgia

Calling at random like frail relations, a phone
Ringing in a distant office they cannot get to,
That they become attentive, or we do — these
Divisions persisting, indeed what we talk about,
We, constructing these webs of buildings which,

Caulked like great whales about us, are always
Aware that some trick of the light or weather
Will dress them as friends, pleading and flailing —
And fill with placid but unbearable melodies
Us in deep hinterlands of incurved glass.

The first thing we note is the preponderance of animus, male symbols. Only surf, webs, pleading and flailing, incurved and possibly vacuumed are feminine — the latter more on Freudian terms. And that, in a poem dealing so much with the sea, the cyclic nature of life, and with balance of land and sea, seems a fault. Certainly these webs of buildings is an unfortunate mixture of anima and animus, and indeed makes little sense on other grounds.

But what is important in Jungian theory is not the symbols as such, but the extent they are faced, understood and accommodated by the individual. To complicate matters, the poem has two individuals and a convoluted line of reasoning. Let's start with the reader addressed in the opening line. He is told about the buildings, the aggregates they are composed of, and the actions of the North Sea. Almost throughout, the imagery is drivingly energetic and aggressive. Where is the anima side? It hardly exists until the last stanza, where the reader is perhaps reintroduced with "Us".

Take the architects, who appear with the "we" in line 23. Their imagery is predominantly feminine. Does this answer the overwhelming masculine imagery before? Only if we merge the reader and the architects into one, the same persona, which makes little sense.

Analysis suggests that the personae of the poem need looking at — the reader, the bureaucrats and the architects, particularly the jump from "they" to "we" in line 23. But a larger question is the balance between the energetic masculine first three stanzas and the melancholic final stanza. There is an sense of compression, of the aggressive objectivity not being faced and absorbed by its shadow.
http://www.textetc.com/criticism/jungian-criticism.html

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The self
is an archetype that represents the unification of the conscious and unconscious. The self is created through individuation, where the many aspects of someone's personality are integrated.

The shadow
is an archetype that represents the sexual and life instincts. It exists as part of the unconscious mind and it contains repressed weaknesses, desires, instincts, and shortcomings. The shadow is often viewed as a representation of wildness and chaos.

The anima
is an image within the psyche that takes a feminine form in men and a masculine form in women. it represents the "true self" as opposed to our presentation of ourselves to the world and is the main mode of communication with the collective unconscious.

The persona
is how we present ourselves to the world. The persona represents the many different representations that we present to different groups and social situations, and acts in each situation to shield the ego from negative images.

Other archetypes
Jung did not believe that these four main archetypes were static, instead he believed that there were many different archetypes that could overlap each other or combine. Some of his other proposed archetypes include:

"The father: Authority figure; stern; powerful.

The mother: Nurturing; comforting.

The child: Longing for innocence; rebirth; salvation.

The wise old man: Guidance; knowledge; wisdom.

The hero: Champion; defender; rescuer.

The maiden: Innocence; desire; purity.

The trickster: Deceiver; liar; trouble-maker."

http://psychology.about.com/od/personalitydevelopment/tp/archetypes.htm

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Jung was a disciple of Freud and thus heavily influenced by his work, especially that of the collective unconscious. While Freud focused on the individual unconscious and the desires hidden there, Jung believed in the personal and private unconscious.

the personal unconscious was the unconscious fears and desires of every individual and could only exposed and analyzed through therapy and dream analysis.

The collective unconscious, he proposed, was a set of images shared between people of a culture. This shared set of images among a culture are called archetypes, and this is what his literary criticism focuses on. He believed that these archetypes revealed themselves through literature and myths and that in analyzing these works you could better understand these archetypes.

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From Purdue- Questions to Use While Psychoanalyzing a Piece

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From Purdue- Questions to Use While Psychoanalyzing a Piece

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-How do the operations of repression structure or inform the work?

-Are there any oedipal dynamics - or any other family dynamics - are work here?

-How can characters' behavior, narrative events, and/or images be explained in terms of psychoanalytic concepts of any kind (for example...fear or fascination with death, sexuality - which includes love and romance as well as sexual behavior - as a primary indicator of psychological identity or the operations of ego-id-superego)?

-What does the work suggest about the psychological being of its author?

-What might a given interpretation of a literary work suggest about the psychological motives of the reader?

-Are there prominent words in the piece that could have different or hidden meanings?

-Could there be a subconscious reason for the author using these "problem

-What connections can we make between elements of the text and the archetypes? (Mask, Shadow, Anima, Animus)

-How do the characters in the text mirror the archetypal figures? (Great Mother or nurturing Mother, Whore, destroying Crone, Lover, Destroying Angel)

-How does the text mirror the archetypal narrative patterns? (Quest, Night-Sea-Journey)

-How symbolic is the imagery in the work?

-How does the protagonist reflect the hero of myth?

-Does the “hero” embark on a journey in either a physical or spiritual sense?

-Is there a journey to an underworld or land of the dead?

-What trials or ordeals does the protagonist face? What is the reward for overcoming them?

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Based on the Greek myth, Freud describes this phenomenon as a man's instinctual behavior towards his mother and father. He forms a strong bond with his mother and sees his father as a rival for affection.

The opposite form of this would be the Elektra Complex, where girls form a strong bond with the father and are rivals of the mother.

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Classical Freudian psychoanalysis and literature

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Classical Freudian psychoanalysis and literature

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This theory is a combination of psychoanalysis and literature, and is born from the psychoanalysis that is often attributed to Freud. It focuses on the expression of the authors emotions through their characters and the story. These theorists believe that the literature reveals the repressed or subconscious desires, fears, and anxieties of the author and focuses not on what the author wants to portray but those emotions that they are trying to repress. "The author's own childhood traumas, family life, sexual conflicts, fixations, and such will be traceable within the behavior of the characters in the literary work." but these revelations will be encoded and hidden, as with dreams, and thus require a careful analysis to decode them. Since its creation there have been many different theorists who take new approaches to the theory.

http://public.wsu.edu/~delahoyd/psycho.crit.html

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What connections can we make between elements of the text and the archetypes? (Mask, Shadow, Anima, Animus)

How do the characters in the text mirror the archetypal figures? (Great Mother or nurturing Mother, Whore, destroying Crone, Lover, Destroying Angel)

How does the text mirror the archetypal narrative patterns? (Quest, Night-Sea-Journey)

How symbolic is the imagery in the work?

How does the protagonist reflect the hero of myth?

Does the “hero” embark on a journey in either a physical or spiritual sense?
Is there a journey to an underworld or land of the dead?
What trials or ordeals does the protagonist face? What is the reward for overcoming them?

https://owl.english.purdue.edu/owl/resource/722/04/

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Typical questions:

How do the operations of repression structure or inform the work?

Are there any oedipal dynamics - or any other family dynamics - are work here?

How can characters' behavior, narrative events, and/or images be explained in terms of psychoanalytic concepts of any kind (for example...fear or fascination with death, sexuality - which includes love and romance as well as sexual behavior - as a primary indicator of psychological identity or the operations of ego-id-superego)?

What does the work suggest about the psychological being of its author?

What might a given interpretation of a literary work suggest about the psychological motives of the reader?

Are there prominent words in the piece that could have different or hidden meanings? Could there be a subconscious reason for the author using these "problem words"

https://owl.english.purdue.edu/owl/resource/722/04/

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Psychoanalytic Theory is used to analyze the author,the audience, or the characters involved in the story.

Analyzing the author puts the reader in a psychologist's position, by using what is in the writing to make assumptions about the author's life.

It can be used to analyze a character's motivation, whether conscious or unconscious.

In addition, psychoanalytic theory can be used to understand why the audience is interested in a piece of work.

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Freud believed that all psychological distress arose from a disagreement or conflict between these 3 major parts of the mind, the Id, the Ego, and the Superego.
The Id being the instinctive and unconscious desires.
The superego being our learned moral judgements.
The Ego being the moderation between our desires and the outside world.

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Transference is the idea that patients will redirect or project their feelings for a significant person onto their therapist in a therapy context.

It can also occur in everyday life, from feelings toward a parent to mistrust of a partner or child. This may be reflected in literature through the interactions, behaviors, and style of a character. Like in Jane the virgin when she writes a short story, and clearly projects her feelings about her mother onto the character.

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Lacan is more concerned with the insight that language offers. The relationship between language and "the sexed self" is integral. Lacanian theorists analyze the relationship between the unconscious emotions as shown through language as opposed to the characters and the bodily causes of their behavior. To Lacan, language serves to sever us from the true reality, and in analyzing the use of it as applied by the author you can tell a great deal about their psyche.