By Paul Bishop
In this quantity, Paul Bishop investigates the level to which analytical psychology attracts on innovations present in German classical aesthetics. It goals to put analytical psychology within the German-speaking culture of Goethe and Schiller, with which Jung was once good familiar.
Analytical Psychology and German Classical Aesthetics argues that analytical psychology appropriates a lot of its relevant notions from German classical aesthetics, and that, while noticeable in its highbrow old context, the real originality of analytical psychology lies in its reformulation of key tenets of German classicism. even though the significance for Jung of German suggestion normally, and of Goethe and Schiller particularly, has usually been said, in the past it hasn't ever been tested in any precise or systematic means. via an research of JungвЂ™s reception of Goethe and Schiller, Analytical Psychology and German Classical Aesthetics demonstrates the highbrow continuity inside analytical psychology and the filiation of principles from German classical aesthetics to Jungian concept. during this manner it means that a rereading of analytical psychology within the gentle of German classical aesthetics deals an intellectually coherent knowing of analytical psychology.
By uncovering the philosophical assets of analytical psychology, this primary quantity returns JungвЂ™s notion to its center highbrow culture, within the mild of which analytical psychology earnings new serious impression and clean relevance for contemporary idea. Written in a scholarly but obtainable sort, this e-book will curiosity scholars and students alike within the parts of analytical psychology, comparative literature, and the historical past of ideas.
Read or Download Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality PDF
Best aesthetics books
Identify notice: unique name Il rosa Tiepolo
Publish 12 months word: First released in 2006
The eighteenth-century Venetian painter Giambattista Tiepolo spent his existence executing commissions in church buildings, palaces, and villas, frequently masking enormous ceilings like these on the Würzburg Residenz in Germany and the Royal Palace in Madrid with frescoes which are one of the glories of Western paintings. The lifetime of an epoch swirled round him—but although his contemporaries liked and well-liked him, they didn't comprehend him.
Few have even tried to take on Tiepolo’s sequence of thirty-three weird and wonderful and haunting etchings, the Capricci and the Scherzi, yet Roberto Calasso rises to the problem, analyzing them as chapters in a depressing narrative that includes the key of Tiepolo’s artwork. Blooming ephebes, lady Satyrs, Oriental sages, owls, snakes: we'll locate all of them, in addition to Punchinello and loss of life, in the pages of this ebook, in addition to Venus, Time, Moses, a number of angels, Cleopatra, and Beatrice of Burgundy—a motley corporation continually at the go.
Calasso makes transparent that Tiepolo was once greater than a blinding intermezzo within the heritage of portray. particularly, he represented a specific manner of assembly the problem of shape: endowed with a fluid, doubtless easy sort, Tiepolo used to be the final incarnation of that odd Italian advantage sprezzatura, the artwork of no longer seeming crafty.
Contributor be aware comprises commentaries via major philosophers of images, Diarmuid Costello and Cynthia A. Freeland
Four Arts of images explores the heritage of images throughout the lens of philosophy and proposes a brand new scholarly knowing of the artwork shape for the twenty first century.
Re-examines the historical past of artwork images via 4 significant photographic hobbies and with case reviews of consultant photographs Employs a top-down, concept to case technique, in addition to a bottom-up, case to idea technique Advances a brand new concept in regards to the nature of images that's grounded in expertise yet doesn't position it against portray
This enormous and bold dictionary explores the languages and cultures of visible reports. It offers the foundation for figuring out the rules and motivations of present theoretical and educational discourse, in addition to the several kinds of visible tradition that experience come to arrange lifestyle.
Michael Mann's motion pictures obtain an in depth research as existential dramas, together with warmth, Collateral , The final of the Mohicans and Public Enemies. The book demonstrates that Mann's motion pictures practice severe engagement with existentialism, illustrating the issues and possibilities of residing in keeping with this philosophy.
Extra resources for Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality
Sometimes, Jung appears to have set himself a higher standard than Goethe did. Writing in response to a question by Kurt Wolﬀ about the composition of what turned into Memories, Dreams, Reﬂections, Jung wrote that he had been so completely misunderstood that he had ‘lost all desire to recall “signiﬁcant” conversations’. And ‘God help me’, he added, ‘when I read Eckermann’s Conversations even Goethe seemed to me like a strutting turkeycock’. ’ (L 2, 453). Those covert allusions to Luther – Gott helfe mir, ich kann nicht anders – as well as to Goethe – ich bin nun wie ich bin 18 – provide a nice example of Jung’s immodest modesty.
For Jung, however, there is also a historico-cultural component to this argument. For the historical role of Christianity, Jung suggests, lay in the discovery of the existence of ‘personal values’ (PU §347), thus initiating a corrective to ‘the far-reaching depreciation of women’, but posing a problem. ’ he asks. As a consequence of this shift in values, and in an attempt to answer the problem posed by the sexual libido, human history, so Jung argues, has made a turn away from the classical clarity of ancient Greece and Rome to the obscure and incomprehensible (as it were, proto-Romantic) world of the mystery cult.
Finally, during the breakdown following his move away from Freud, Jung deliberately subjected himself to those psychic experiences that enabled him to engage with the unconscious. According to one of the most well-known passages of Memories, Dreams, Reﬂections, ‘I was sitting at my desk once more, thinking over my fears. Then I let myself drop’ (MDR, 203). And so began his ‘confrontation with the unconscious’. Like Odysseus in the underworld, like Orpheus making his descent, like Faust visiting the realm of the Mothers, Jung – so this passage would have us believe – embarks on the terrifying journey to the collective psyche as a result of a conscious decision.
Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality by Paul Bishop