100 Dinge die ein Junge wissen muss (original) (raw)

What is The Red Book for analytical psychology?

Journal of Analytical Psychology, 2011

In 2009, a remarkable and much belated addition to the oeuvre arrived at the field's doorstep: The Red Book. For more than seventy years, this medieval-like illuminated calligraphic manuscript lay first on the shelves of Jung's private library and then in a bank vault. Evidently, Jung himself was at least somewhat ambivalent about its place in his overall oeuvre, since he kept it to himself and a very few close associates in his lifetime, and when he passed away he left behind no instructions concerning its publication posthumously. Moreover, it is an unfinished work, a fragment. Liber Novus (Jung's title for this work) comes into the field somewhat like a long concealed illigitmate child into an established and distinguished family. This mystery member of the family may turn out to be be quite exceptional and display remarkable gifts, but there is also some trepidation concerning potential embarrassment. With its public appearance, The Red Book must now be considered as part and parcel of the field's heritage, whether one likes it or not. What is The Red Book for analytical psychology? Does it belong to the body of seminal works beside Jung's other major writings, or is it to be ranked as the equivalent of a writer's personal diary and sketchbook, akin to Leonardo's Notebooks, which shows the early workings of a brilliant mind as the creator prepares for his more serious later contributions to a scientific or cultural enterprise? Conversely, one can also wonder if all of Jung's later writings were nothing more than an attempt to explicate this monumental foundational work and make its ideas and insights, which are here expressed in colorful image and high-flown rhetorical style, digestible for modern readers and thinkers.

Reading Jung for Magic: “Active Imagination” for/as “Close Reading”

How and Why We Still Read Jung ed. Jean Kirsch and Murray Stein, 2013

ABSTRACT In this paper I want to pivot the topic of C.G. Jung and “reading” into a bold argument about the evolution of academic disciplines (and later about evolution itself). Relatively recent forms of academic study, such as psychology, were constructed by dividing a heritage along lines of “respectable” proto-scientific ideas and esoteric practices better forgotten and darkened. After all, how we read Jung and why, concerns not just reading The Collected Works of C.G. Jung, but also how such work might affect reading texts of all kinds. The act of reading might be defined as interpreting words and other signifying material such as dream images. Such a definition opens up large spheres of knowledge; for example hermeneutics, the study of imaginative literature, and in pre-Enlightenment eras, reading arts such as alchemy and magic. My core proposition is that Jung proposed a method of working with unconscious images, “active imagination,” he called it, that was simultaneously an act of liberation and repression. Comparing active imagination with its historical parallel from the discipline of vernacular literary studies, “close reading,” makes visible its structure of reduction and expansion. As offered by Jung, active imagination represses its nature as an art, while proposing an expansion of reading sorely needed by literary studies. In turn, examination of close reading and its antecedents reveals a structurally similar and opposite repression, that of the creative psyche, while expanding the role of readings as an art of making. In this way we may allow psychology and literary studies to re-form each other to show both active imagination and close reading as acts of magic for the twenty-first century.

PsyArt_ An Online Journal for the Psychological Study of the Arts-Jung.pdf

Edith Wharton's The House of Mirth (1905) presents psychological disintegration in the characterization of the novel's beautiful heroine Miss Lily Bart. This paper applies a Jungian analysis to study the causes and effects of Lily Bart's psychological disintegration. It divides these causes and effects according to Jungian archetypes and motifs. Through such divisions, the paper reveals Lily's inability to achieve self-realization; and how this inability gradually brings her fatal end. To demonstrate this, Lily's use of her persona/shadow, the mother archetype and its effect on Lily, and the child motif and its connection with past are scrutinized in depth.