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First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.
A lavishly illustrated volume of C.G. Jung’s visual work, from drawing to painting to sculpture. A world-renowned, founding figure in analytical psychology, and one of the twentieth century’s most vibrant thinkers, C.G. Jung imbued as much inspiration, passion, and precision in what he made as in what he wrote. Though it spanned his entire lifetime and included painting, drawing, and sculpture, Jung’s practice of visual art was a talent that Jung himself consistently downplayed out of a stated desire never to claim the title “artist.” But the long-awaited and landmark publication, in 2009, of C.G. Jung’s The Red Book revealed an astonishing visual facet of a man so influential in the realm of thought and words, as it integrated stunning symbolic images with an exploration of “thinking in images” in therapeutic work and the development of the method of Active Imagination. The remarkable depictions that burst forth from the pages of that calligraphic volume remained largely unrecognized and unexplored until publication. The release of The Red Book generated enormous interest in Jung’s visual works and allowed scholars to engage with the legacy of Jung’s creativity. The essays collected here present previously unpublished artistic work and address a remarkably broad spectrum of artistic accomplishment, both independently and within the context of The Red Book, itself widely represented. Tracing the evolution of Jung’s visual efforts from early childhood to adult life while illuminating the close relation of Jung’s lived experience to his scientific and creative endeavors, The Art of C.G. Jung offers a diverse exhibition of Jung’s engagement with visual art as maker, collector, and analyst.
In 1913, psychiatrist and psychoanalyst Carl Gustav Jung (1875-1961) experienced an episode of psychosis, seeing visions and hearing voices in what he called a horrible 'confrontation with the unconscious.' But, instead of seeking to minimize the hallucinations after this initial episode, Jung believed there was tremendous value in this unconscious content and developed methods to encourage hallucinations. Over some sixteen years, he recorded his experiences in a series of small journals, which he later transcribed in a large, red, leather-bound volume, commonly known as 'The Red Book'. Jung never published the Liber Novus, as he called this pivotal part of his oeuvre, and left no instructions for its final disposition, and it therefore remained unpublished until recently. 'The Red Book Hours' complements the facsimile edition and English-language translation of 'The Red Book', published in 2009, and draws out the insights into Jung's affinity with art as a means of personal insight.
Jungian Art Therapy aims to provide a clear, introductory manual for art therapists on how to navigate Jung’s model of working with the psyche. This exciting new text circumambulates Jung’s map of the mind so as to reinforce the theoretical foundations of analytical psychology while simultaneously defining key concepts to help orient practitioners, students, and teachers alike. The book provides several methods, which illustrate how to work with the numerous images originating from the unconscious and glean understanding from them. Throughout the text readers will enjoy clinical vignettes to support each chapter and illuminate important lessons.
For the first time in English, Jung's landmark lecture on Nerval's hallucinatory memoir In 1945, at the end of the Second World War and after a long illness, C. G. Jung delivered a lecture in Zürich on the French Romantic poet Gérard de Nerval. The lecture focused on Nerval's visionary memoir, Aurélia, which the poet wrote in an ambivalent attempt to emerge from madness. Published here for the first time, Jung’s lecture is both a cautionary psychological tale and a validation of Nerval’s visionary experience as a genuine encounter. Nerval explored the irrational with lucidity and exquisite craft. He privileged the subjective imagination as a way of fathoming the divine to reconnect with what the Romantics called the life principle. During the years of his greatest creativity, he suffered from madness and was institutionalized eight times. Contrasting an orthodox psychoanalytic interpretation with his own synthetic approach to the unconscious, Jung explains why Nerval was unable to make use of his visionary experiences in his own life. At the same time, Jung emphasizes the validity of Nerval’s visions, differentiating the psychology of a work of art from the psychology of the artist. The lecture suggests how Jung’s own experiments with active imagination influenced his reading of Nerval’s Aurélia as a parallel text to his own Red Book. With Craig Stephenson’s authoritative introduction, Richard Sieburth’s award-winning translation of Aurélia, and Alfred Kubin’s haunting illustrations to the text, and featuring Jung’s reading marginalia, preliminary notes, and revisions to a 1942 lecture, On Psychological and Visionary Art documents the stages of Jung’s creative process as he responds to an essential Romantic text.
Contents: Mandalas. I. A Study in the Process of Individuation. II. Concerning Mandala Symbolism Index Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
As a current record of all of C. G. Jung's publications in German and in English, this volume will replace the general bibliography published in 1979 as Volume 19 of the Collected Works of C. G. Jung. In the form of a checklist, this new volume records through 1990 the initial publication of each original work by Jung, each translation into English, and all significant new editions, including paperbacks and publications in periodicals. The contents of the respective volumes of the Collected Works of C. G. Jung and the Gesammelte Werke (published in Switzerland) are listed in parallel to show the interrelation of the two editions. Jung's seminars are dealt with in detail. Where possible, information is provided about the origin of works that were first conceived as lectures. There are indexes of all publications, personal names, organizations and societies, and periodicals.
In this intimate study Juliet Miller maps the artworks that have influenced her throughout her life and examines how she has integrated them into her development as a psychotherapist. Working from the premise that our initial reactions to art provide a crucial key to self-analysis, Miller interrogates the significance of different artists, including Bourgeois, Vermeer, Rousseau and Kahlo, and analyses how personal circumstances, recollections and emotions have affected responses to their work. Chapters incorporate clinical material from Miller’s practice, linking into her own anxieties about sitting with and connecting with patients, and touching on themes including creativity, character, identity and communication. Through this exploration she questions many of the conventions of art and psychotherapy and suggests ways in which looking at art can be used as a psychological tool. Art, Memoir and Jung offers a highly personal and innovative perspective on meaning in art and how it can be used to explore Jungian thought as based in the aesthetic, and how the aesthetic can inform depth psychology.
C. G. Jung has been and continues to be a pervasive yet often unacknowledged presence in twentieth-century art and intellectual life. This timely volume is the first comprehensive attempt to assess this presence and to demonstrate Jung's far-reaching cultural impact. The distinguished contributors represent a number of views, from traditional Jungian to the most contemporary post-Jungian stances, including feminist, non-Jungian, and anti-Jungian positions. Jung, as seen in this volume, addresses a wide range of contemporary issues related to creativity, gender, religion, popular culture, and hermeneutics. The essays reveal dimensions of his work that extend far beyond psychoanalytical theory and that show his hermeneutics to be a much more subtle and sophisticated methodology than previously allowed by his critics. This methodology appears, in fact, to have anticipated significant aspects of contemporary critical principles and practice. The contributors to the volume were among the participants in a major international conference sponsored by Hofstra University and the C. G. Jung Foundation of New York, held in 1986 at Hofstra University. They include Thomas Belmonte, Robert Bly, Joseph Campbell, Edward S. Casey, Stanley Diamond, Jean Erdman, Leslie Fiedler, James Hillman, Paul Kugler, Ibram Lassaw, Neil Levine, David L. Miller, Lucio Pozzi, Gilles Quispel, Robert Richenburg, Carol Schreier Rupprecht, Andrew Samuels, Harold Schechter, and June Singer. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.