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Journal of Dreams, with its accompanying interpretation by psychologist Wilson Van Dusen, provides an intimate view of the spiritual awakening of Swedish scientist-turned-seer Emanuel Swedenborg (1668-1772).
Although Emanuel Swedenborg (1688–1772) is commonly known for his spiritual philosophy, his early career was focused unnatural science. During this period, Swedenborg thought of the world was like a gigantic machine, following the laws of mechanics and geometry. This volume analyzes this mechanistic worldview from the cognitive perspective, by means of a study of the metaphors in Swedenborg’s texts. The author argues that these conceptual metaphors are vital skills of the creative mind and scientific thinking, used to create visual analogies and abstract ideas. This means that Swedenborg’s mechanistic and geometrical worldview, allowed him to perceive the world as mechanical and geometrical. Swedenborg thought ”with” books and pens. The reading gave him associations and clues, forced him to interpret, and gave him material for his intellectual development.
Charet uncovers some of the reasons why Jung's psychology finds itself living between science and religion. He demonstrates that Jung's early life was influenced by the experiences, beliefs, and ideas that characterized Spiritualism and that arose out of the entangled relationship that existed between science and religion in the late nineteenth century. Spiritualism, following it inception in 1848, became a movement that claimed to be a scientific religion and whose controlling belief was that the human personality survived death and could be reached through a medium in trance. The author shows that Jung's early experiences and preoccupation with Spiritualism influenced his later ideas of the autonomy, personification, and quasi-metaphysical nature of the archetype, the central concept and one of the foundations upon which he built his psychology.
In 1744 Swedenborg traveled the Netherlands to gather material for a scientific treatise on the anatomy and behavior of animals. En route, he began having strange and disturbing dreams. It was Swedenborg's custom to keep a diary while he traveled, and so he recorded his dreams in its pages. These visions began the process of Swedenborg's spiritual awakening, which culminated in visions of angels, demons, heaven and hell. Swedenborg would largely abandon scientific pursuits and instead devote himself to recording the mystical visions that would dominate his legacy. The whereabouts of this journal were unknown for decades after Swedenborg's death, but it was eventually discovered in the Royal Library in the 1850s and subsequently published.
List of members in v. 1, 6, 12.
The grand finale of Karl Ove Knausgaard's masterful and intensely-personal series about the four seasons, illustrated with paintings by the great German artist Anselm Kiefer The conclusion to one of the most extraordinary and original literary projects in recent years, Summer once again intersperses short vividly descriptive essays with emotionally-raw diary entries addressed directly to Knausgaard's newborn daughter. Writing more expansively and, if it is possible, even more intimately and unguardedly than in the previous three volumes, he mines with new depth his difficult memories of his childhood and fraught relationship with his own father. Documenting his family's life in rural Sweden and reflecting on a characteristically eclectic array of subjects--mosquitoes, barbeques, cynicism, and skin, to name just a few--he braids the various threads of the previous volumes into a moving conclusion. At his most voluminous since My Struggle, his epic sensational series, Knausgaard writes for his daughter, striving to make ready and give meaning to a world at once indifferent and achingly beautiful. In his hands, the overwhelming joys and insoluble pains of family and parenthood come alive with uncommon feeling.