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Rudolf Steiner’s watercolour painting ‘The Archetypal Human-Animal’ presents us with the enigmatic image of a strange creature apparently swimming in water. It has a human profile, showing a clearly outlined nose and slightly-opened mouth, with a mysterious eye, almost concealed in its greenish hair. It has appendages similar to hands and feet, and dark-blue plant-like forms float about in the water beneath the creature’s bright red and yellow body. Only the title provides us with a clue to its meaning: it is an ‘archetypal human-animal’ form. But even this is enigmatic. What is this strange, unusual creature – this archetypal human-animal? We are presented with a perplexing image and a puzzling description. In this original work, illustrated throughout with full-colour paintings and images – many by the author herself – Angela Lord takes us on a journey of discovery to realizing the meaning of Rudolf Steiner’s painting. From Goethe’s theory of metamorphosis in nature, we are introduced to Steiner’s ideas of human evolution, from the primal beginnings of the archetypal human-animal on ‘Ancient Moon’. Lord recounts myths and legends from many cultures that tell of human-animal forms, and reflects on the meaning of the fish in Christianity. She takes us through a series of ‘colour sequences’ for repainting Steiner’s human-animal motif, and includes appendices that summarize evolutionary phases of the earth and humanity from a spiritual-scientific perspective. The Archetypal Human-Animal is both a valuable workbook for painters and a fascinating insight into hidden aspects of human evolution.
This volume presents Barbara Hannah's Jung Institute lectures of 1954-58. In these profound talks, she speaks of the archetypal symbolism of seven animals--cat, dog, horse, serpent, lion, bull, and cow--discussing their roles in the psychological and cultural life of the West.
Also available in an open-access, full-text edition at http: //oaktrust.library.tamu.edu/handle/1969.1/85764 "What we wish to know, and most desire, remains unknowable and lies beyond our grasp." With these words, James Hollis leads readers to consider the nature of our human need for meaning in life and for connection to a world less limiting than our own. In The Archetypal Imagination, Hollis offers a lyrical Jungian appreciation of the archetypal imagination. He argues that without the human mind's ability to form energy-filled images that link us to worlds beyond our rational and emotional capacities, we would have neither culture nor spirituality. Drawing upon the work of poets and philosophers, Hollis shows the importance of depth experience, meaning, and connection to an "other" world. Just as humans have instincts for biological survival and social interaction, we have instincts for spiritual connection as well. Just as our physical and social needs seek satisfaction, so the spiritual instincts of the human animal are expressed in images we form to evoke an emotional or spiritual response, as in our dreams, myths, and religious traditions. The author draws upon the work of the poet Rainer Maria Rilke's Duino Elegies to elucidate the archetypal imagination in literary forms. To underscore the importance of incarnating depth experience, he also examines a series of paintings by Nancy Witt. With the power of the archetypal imagination available to all of us, we are invited to summon courage to take on the world anew, to relinquish outmoded identities and defenses, and to risk a radical re-imagining of the larger possibilities of the world and of the self.
Drawing on current trends in post-modernism and post-humanism this books offers a challenge to current ways of thinking, theorising and talking about animals and humanimal relations
In this thoughtful and revelatory book, Wood explores enduring and powerful theories on art, creativity, and what Jung called the "creative spirit" in order to illuminate how artists can truly understand what it means to be a creator. By bringing together insights on creativity from some of depth psychology’s most iconic thinkers, such as C.G. Jung, James Hillman, and Joseph Campbell, as well as featuring a selection of creators who have been influenced by these ideas, such as Martha Graham, Mary Oliver, Stanley Kunitz, and Ursula K. Le Guin, this book explores archetypal thought and the role of the artist in society. This unique approach emphasizes the foundational need to understand and work with the unconscious forces that underpin a creative calling, deepening our understanding of the transformational power of creativity, and the vital role of the artist in the modern world. Acting as a touchstone for inquiries into the nature of creativity, and of the soul, this enlightening book is perfect for artists and creators of all types, as well as Jungian analysts and therapists, and academics interested in the arts, humanities, and depth psychology.
From the softest caress to the harshest blow, touch lies at the heart of our experience of the world. Now, for the first time, this deepest of senses is the subject of an extensive historical exploration. The Deepest Sense: A Cultural History of Touch fleshes out our understanding of the past with explorations of lived experiences of embodiment from the middle ages to modernity. This intimate and sensuous approach to history makes it possible to foreground the tactile foundations of Western culture--the ways in which feelings shaped society. Constance Classen explores a variety of tactile realms including the feel of the medieval city; the tactile appeal of relics; the social histories of pain, pleasure, and affection; the bonds of touch between humans and animals; the strenuous excitement of sports such as wrestling and jousting; and the sensuous attractions of consumer culture. She delves into a range of vital issues, from the uses--and prohibitions--of touch in social interaction to the disciplining of the body by the modern state, from the changing feel of the urban landscape to the technologization of touch in modernity. Through poignant descriptions of the healing power of a medieval king's hand or the grueling conditions of a nineteenth-century prison, we find that history, far from being a dry and lifeless subject, touches us to the quick.
This is the first book to provide a systematic overview of social zooarchaeology, which takes a holistic view of human-animal relations in the past. Until recently, archaeological analysis of faunal evidence has primarily focused on the role of animals in the human diet and subsistence economy. This book, however, argues that animals have always played many more roles in human societies: as wealth, companions, spirit helpers, sacrificial victims, totems, centerpieces of feasts, objects of taboos, and more. These social factors are as significant as taphonomic processes in shaping animal bone assemblages. Nerissa Russell uses evidence derived from not only zooarchaeology, but also ethnography, history and classical studies, to suggest the range of human-animal relationships and to examine their importance in human society. Through exploring the significance of animals to ancient humans, this book provides a richer picture of past societies.
An image is archetypal only when it is an individual value, which through natural analogs allows a person to learn about himself, obtain information about his individual qualities recorded in the individual structure of psyche, which ultimately allows a person to legalize his own innate qualities. The authors reason that logically an archetype in its traditional consideration cannot be that prototype (preimage), which, as an initial idea, determines the individual human psyche because by definition it belongs to culture—it is its artifact. Consequently, according to existing semantics, an archetype can be anything except an archetype as an idea. This scientific paper examines whether semantics of an archetype in its traditional sense corresponds to the concept of “an image” if an image is considered in terms of “a copy”, ”a duplicate”; can an archetype of culture be seriously considered as something that directly forms individual human psyche, as a structure that appeared long before symbolism? The authors think that not every image is archetypal because not every image is equal to prototype (preimage), as an initial idea corresponding to the concept of “an archetype.” An image is archetypal only when it is an individual value, which, through natural analogues, allows a person to learn about his own self and learn about his individual qualities, recorded in the individual structure of psyche, which, as a result, provides a person with a possibility to legalize his own innate qualities.
'This collection presents significant summaries of past criminal behavior, and significant new cultural and political contextualizations that provide greater understanding of the complex effects of crime, sovereignty, culture, and colonization on crime and criminalization on Indian reservations.' Duane Champagne, UCLA (From the Foreword) Native Americans and the Criminal Justice System offers a comprehensive approach to explaining the causes, effects, and solutions for the presence and plight of Native Americans in the criminal justice system. Articles from scholars and experts in Native American issues examine the ways in which society's response to Native Americans is often socially constructed. The contributors work to dispel the myths surrounding the crimes committed by Native Americans and assertions about the role of criminal justice agencies that interact with Native Americans. In doing so, the contributors emphasize the historical, social, and cultural roots of Anglo European conflicts with Native peoples and how they are manifested in the criminal justice system. Selected chapters also consider the global and cross-national ramifications of Native Americans and crime. This book systematically analyzes the broad nature of the subject area, including unique and emerging problems, theoretical issues, and policy implications.
In Mimesis and the Human Animal, Robert Storey argues that human culture derives from human biology and that literary representation therefore must have a biological basis. As he ponders the question "What does it mean to say that art imitates life?" he must consider both "What is life?" and "What is art?" A unique approach to the subject of mimesis, Storey's book goes beyond the politicizing of literature grounded in literary theory to develop a scientific basis for the creation of literature and art.