Carl Gustav Jung

O maior dos cineastas japoneses, Akira Kurosawa, fez no outono de sua vida um filme baseado nos seus sonhos. A rica simbologia dos oito episódios do filme é um convite para conhecer o folclore e a religiosidade do Extremo Oriente. No entanto, a interpretação de "Sonhos" esbarra num obstáculo considerável: a fossa cultural que separa o Japão do Ocidente. Para transpor essa barreira foi necessário um estudo focado principalmente no budismo, xintó e a biografia do diretor para captar a profundidade dessa obra, somado a comparações com os mitos, lendas e contos de fada da África, do Brasil e da Europa. Tanto a arte como a vida onírica são temas de grande interesse apara analistas Junguianos, e a investigação psicológica desse filme traz uma contribuição valiosa para uma crítica cinematográfica que tem por base o repertório hermenêutico da psicologia analítica.

Jung on Astrology brings together C. G. Jung's thoughts on astrology in a single volume for the first time, significantly adding to our understanding of his work. Jung's Collected Works , seminars, and letters contain numerous discussions of this ancient divinatory system, and Jung himself used astrological horoscopes as a diagnostic tool in his analytic practice. Understood in terms of his own psychology as a symbolic representation of the archetypes of the collective unconscious, Jung found in astrology a wealth of spiritual and psychological meaning and suggested it represents the "sum of all the psychological knowledge of antiquity." The selections and editorial introductions by Safron Rossi and Keiron Le Grice address topics that were of critical importance to Jung-such as the archetypal symbolism in astrology, the precession of the equinoxes and astrological ages, astrology as a form of synchronicity and acausal correspondence, the qualitative nature of time, and the experience of astrological fate-allowing readers to assess astrology's place within the larger corpus of Jung's work and its value as a source of symbolic meaning for our time. The book will be of great interest to analytical psychologists, Jungian psychotherapists, and academics and students of depth psychology and Jungian and post-Jungian studies, as well as to astrologers and therapists of other orientations, especially transpersonal.

Il est étonnant de voir à quel point les critiques que Wittgenstein adresse à Freud-alors que sa connaissance du corpus freudien ne se limitait pourtant qu'à l'Interprétation des rêves-, peuvent préfigurer les différentes " hérésies " et relectures de la psychanalyse post-freudienne. En effet, les héritiers du psychanalyste viennois, face à l'épineuse difficulté des analyses sans fin et devant alors repenser tout à la fois la question du transfert et celle du statut de l'inconscient, vont être peu à peu amenés à rompre avec ce que d'aucuns ont pu appeler le " familialisme " de Freud, commandé en sous main par l'insularité réifiante de sa notion d'inconscient et son substantialisme corrélatif-amenant ainsi, peu à peu, la perspective d'un inconscient collectif. De même, ce qui sera principalement remis en cause par les différents courants inspirés du freudisme, c'est bien la surdétermination phallique qui amène insensiblement à penser l'inconscient selon un modèle mécaniste, organiciste et, finalement, déterministe-qui, pour Freud, était la clef d'une méthode réellement scientifique. Toute la critique de Wittgenstein est justement dirigée contre cet idéal scientifique qui mine de l'intérieur la découverte freudienne. En voulant rendre raison de l'inconscient par un causalisme strict, Freud s'est rendu aveugle à la véritable portée de sa découverte, à savoir avoir su dégager une nouvelle grammaire, faire émerger des formes de représentations inédites, permettant au sujet, par leur syntaxe, de trouver une raison à son mal, et non plus une cause.

Ilmu sastra atau kesusasteraan merupakan disiplin ilmu yang mengkaji tentang seluk beluk sastra. Dalam perkembangannya, kajian kesusasteraan ini terbagi ke dalam dua jenis, yaitu kajian intrinsik dan kajian ekstrinsik. Kajian intrinsik karya sastra mencoba mengkaji

We are a binary consciousness. Perhaps the most striking outcome of psychoanalysis is the formalization of this fact in the notion of the distinction between the conscious and the unconscious. Whether we follow orthodox Freudian readings of the unconscious as the repressed remainder of all that is rejected from consciousness, or the Jungian line of thought which sees the unconscious as the primary ground from which the conscious sense of self we call the ego emerges, we are left with the simple fact of a bifurcation between what we consider us, and what is not us, but nevertheless lives within and through us. Descartes was not yet psychological. His famous formula for the supremacy of the ego, ​ cogito, ergo sum​ , is to be understood as the declaration of our sense of self-regard as being correct — there is nothing else, besides what we know of ourselves. Nietzsche was perhaps the first depth psychologist, and from his time to ours, we have entered into a decidely psychological era. We might distinguish between pre-psychological and psychological views of self and world: ​ pre-psychological​ asserting that it is what we know of ourselves which is ultimately true, and ​psychological asserting that our vastness, or depths, to use the popular metaphor, can only be known in glimpses. It is not simply that the unconscious remains repressed. The bar of repression is a swinging door. Psychic contents emerge from unconsciousness into consciousness, as if through this door, or, to use the metaphor Jacques Siboni, a student of Jacques Lacan's, provides: a conveyor belt. This conveyor belt from the "other half" of our consciousness can get stuck. It can move too quickly, or too slowly, or not at all. When it moves too quickly, we may suffer from an inflation of consciousness — by identifying with affect-laden psychic contents being delivered up into consciousness, we may lose our reasonableness — that same reasonableness which is the hallmark of the ego.

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book intro in downloadable .pdf] 

"It is a common experience that a problem difficult at night is resolved in the morning after the committee of sleep has worked on it." --John Steinbeck Scientific research confirms what people have always known: answers, ideas, and inspiration do come to us in dreams. Harvard psychologist and world-renowned dream specialist Deirdre Barrett, Ph.D., offers this rich collection of examples of how the world's most creative practitioners in art, music, film, science, literature and other fields have used the revelations of their dream life to inform their work. Dr. Barrett offers insights showing us how to encourage lucid, meaningful dreaming, and how to apply the meanings of our dreams to solving problems--from the everyday to the extraordinary. This is the stuff dreams are made of. In the visual arts, Jasper Johns couldn't find his unique artistic vision until he dreamed it in the form of a large American flag. Salvador Dali and his colleagues built the startling new genre of surrealism out of dreams. Kubla Kahn dreamed the design for his stately pleasure dome; thousands of years later, Lucy Davis, chief architect at a major firm, continues the tradition of dreaming designs into life in her extraordinary buildings. Film is a fertile avenue for dreams: "Twice I have transferred dreams to film exactly as I had dreamed them," confides director Ingmar Bergman, as have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman, and John Sayles. From Mary Shelley's terrible nightmare, which became Frankenstein, to Stephen King's haunting dream as a little boy, which led to his first bestseller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes. In science, physiologist Otto Loewi dreamed the medical experiment that earned him the Nobel Prize. In sports, Marion Jones dreamed she'd broken a world record, then brought the dream to life. Gandhi translated his dream of resistance into a movement that changed the world. Since Freud, we take it for granted that our dreams reflect our past. In The Committee of Sleep, Barrett reveals how dreams can also tell us about our future potential--and how to reach it.

This collected work of Jung’s writings on dreams, provides an in depth look at the workings of the unconscious aspect of the human psyche, and in turn the psyche as a whole.  As most human beings spend nearly half of their lives sleeping, it is quite clear that dreams provide an important role in the overall workings of the human mind.  The Freudian school of psychoanalysis provided a very simplified investigation as to the significance of dreams, frequently labelling much of the symbolism encountered in the non-waking state as repressed wish-fulfilment.  This seems like an oversimplified approach to the unconscious.  Jungian psychoanalysis attached far greater importance to dreams, and that they can reveal a great deal about the psychological and physical state of the dreamer, as well as providing a window into the operations of the collective consciousness of humanity.

http://www.whenthenewsstops.org/2013/12/dreams-by-cg-jung.html

This chapter, focusing on the text The Family Complexes (1938), demonstrates that already as early as the 1930s, Lacan's interests had turned to revising psychoanalytic theory. The text represents a prototypical example of the internal dilemma Lacan experienced throughout his work, a dilemma swinging between fidelity to Freud and his own longing for innovation, that is, between his desire to sustain the physical anti-metaphysical dimension in Freud's theory and his wish to transform Freud's principles into an abstract model of fatherhood. In his scheme, fatherhood was to be a symbolic principle extending beyond any concrete feature. My research indicates that Lacan's interpretation of Freud revolved around the concept of the Father, with Lacan placing the Father figure within a broad cultural context. Lacan related to the Father as Imago rather than as a biological-concrete father functioning within some family unit.
I argue here that during this period, Lacan made use of Jungian concepts as well as precepts taken from the Judeo-Christian tradition in order to construct his revision of psychoanalysis. By means of Jung's terms "imago" and "complex," Lacan was able, like Jung, to contest Freud's biologism. With the help of the Father principle as it appears in the Judeo-Christian tradition, Lacan elaborated what he perceived to be a paternalistic-Jewish attitude. This attitude, he believed, existed in contradiction to the absolute Mother principle.

Since the late 19th century, when the “new science” of psychology and interest in esoteric and occult phenomena converged – leading to the “discovery” of the unconscious – the dual disciplines of depth psychology and mysticism have been wed in an often unholy union.  Continuing in this tradition, and the challenges it carries, this volume includes a variety of inter-disciplinary approaches to the study of depth psychology, mysticism, and mystical experience, spanning the fields of theology, religious studies, and the psychology of religion.  Chapters include inquiries into the nature of self and consciousness, questions regarding the status and limits of mysticism and mystical phenomenon, and approaches to these topics from multiple depth psychological traditions.  About the editors:

Thomas Cattoi is Associate Professor of Christology and Cultures, Jesuit School of Theology at Santa Clara University and Graduate Theological Union, USA;

David M. Odorisio is Director of The Retreat at Pacifica Graduate Institute, USA, and adjunct faculty in Pacifica’s Mythological Studies graduate program.

Что же в действительности происходило в частной практике Юнга? По неопубликованным письмам и отчетам пациентов Шамдасани создает живую картину того, как зарождались техники юнгианского анализа, аналитическая психология как социальное движение.

Il Bestiario intende avvicinarsi agli animali descritti nell’opera di C.G. Jung come «il massimo sistema simbolico della coscienza umana dal tempo della preistoria». Lungo questo ricercare il contenuto prende a poco a poco il colore prezioso delle cose tramandate, si compone con le immagini della mitologia, si confonde con le leggende e i sogni. Le parole chiedono agli animali, anche a quelli più tenebrosi, di venire alla luce, persuadendoli ad uscire dal secolare silenzio e offrendo loro modalità espressive: modi di darsi un’immagine attraverso la parola che evoca e attinge ad un immaginario che contiene il passato e dal passato è attivata.

In this work we describe the theory of complexes proposed by C. G Jung's analytical psychology, then we go in a journey through the world of Vipassana meditation, developed by Buddha 2500 years ago, as described by S. N. Goenka of the Theravāda tradition. Then we draw a parallel between analytical psychology and Vipassana meditation, with an emphasis on the shadow complex and its reflections on the physical body and sensations. In the end we conclude that there is much in common between what Jung calls the shadow complex and what the Buddha calls saṅkhāra and that the method that Buddha uses to treat these saṅkhāra deserves further study to validate his therapeutic use.

The Red-Haired Woman (2016) by Orhan Pamuk mirrors the east-west dichotomy by father-son relationship. The author integrates the narratives of King Oedipus and Rostam and Sohrab in the nucleus of the text and the protagonist's experiences; thereby, he not only brings a dual approach to the question of becoming an individual but manifests the inevitability of fate via myths turning into reality. Pamuk's literary modus operandi in the novel lets coincidence find a palpable meaning and become the repetition of past incidents. Carl Gustav Jung's concepts of collective unconscious and archetype, in this respect, shed considerable light on the ways in which Pamuk's characters are led by some collectively shared entities. According to Jung, every individual possesses some reflexes, tendencies and instincts shared by all humanity and stored in the very depth of human mind. Jung argues that collective unconscious, being of primitive and universal quality, appears in dreams and myths and latently influences the way man thinks and behaves. Cem Çelik, the protagonist of The Red-Haired Woman, acts so as to exhibit this holistic influence particularly in terms of father-son relationship; to a great extent, his experiences are presented as recurrences of historical/mythical situations and occurrences that have been repeated throughout human history with cultural changes and manifested in myths. Hence, this paper aims to elucidate Pamuk's use of myths and discourses of patricide/filicide in The Red-Haired Woman through Jungian perspective.

I propose that the ego functions and functional attitudes each possess different relationships to time. Each function-attitude pair has its own way of experiencing or analyzing time, depending on whether it is a perceiving or judging function. This essay explores the idea of different ways of experiencing time -- being past-oriented, present-oriented, or future-oriented -- as well as whether one is more focused towards external reality or psychic inner space.

The translation of The Writer's Journey, by Christopher Vogler, and the practically simultaneous publication of Story, by Robert McKee, revived the debate about books on film and TV scripts, in which guides, descriptive studies and academic analyses are mixed together in a field where often the borders between different particular issues are crossed. This intersection of theoretical writings discloses a great deal of agreement between academic conclusions and the ones screenwriters reach in their day-to-day practice, which can produce the question: in what ways do screenwriting manuals and analytical studies complement each other and how do they exchange contributions?

Published September 2015 in: Das Rote Buch – C. G. Jungs Reise zum anderen Pol der Welt, ed. Thomas Arzt (Verlag Königshausen & Neumann, 2015). ISBN-13: 978-3826056789. 

Love was the great mystery in C. G. Jung's life. His confrontation with love for a woman and a feminine soul animated the composition of Jung's great Red Book, the book he formally titled Liber Novus.

C. G. Jung's relationships with women during these central years of life have generated several commentaries and critiques. But the power and depth of love has figured little in most of the romances about this period patched together by biographers, dramatists, and psychoanalysts. In consequence, a crux experience of Jung's life has been miscast and little understood.

Three decades after the events chronicled in his Red Book, C. G. Jung turned to writing a commentary on the still hidden records. In Jung in Love, Lance Owens illustrates how Jung's four last books—his "last quartet" of major works published after 1945—are a summary statements about his experiences during the years he labored with Liber Novus.

Owens illustrates how in the first volume of this "last quartet"—The Psychology of the Transference, published in 1946—Jung employed a sixteenth-century alchemical text to provide context for what is in fact a statement about his own experience with love recounted both in his private journals and in Liber Novus.

Based on long-sequestered documentary sources, Jung in Love offers a balanced and historically contextualized account of Jung's relationships with four women during the years that led him into the visionary experiences recorded in the Red Book: Emma Jung-Rauschenbach, Sabina Spielrein, Maria Moltzer and Toni Wolff.

Jung in Love - The Mysterium in Liber Novus was originally published as a chapter in Das Rote Buch – C. G. Jungs Reise zum anderen Pol der Welt, ed. Thomas Arzt (Verlag Königshausen & Neumann, 2015).

Partiendo del paradigma antropológico y mitológico compartido por Carl Gustav Jung, Joseph Campbell y Mircea Eliade, José Antonio Delgado relaciona las estructuras míticas y sus mecanismos con el alma humana y sus productos, permitiendo que el lector comprenda de qué modo se expresa en el cine la imaginación y cómo se vehiculan los arquetipos o patrones de comportamiento humano a través de la gran pantalla. Además, las innovadoras relaciones entre los presupuestos que comparten la psicología profunda, la psicología transpersonal, la ecología profunda, el misticismo y la física cuántica redunda en una mejor comprensión del nuevo paradigma espiritual que está emergiendo en Occidente.

This book of expert essays explores the concept of the whole as it
operates within the psychology of Jung, the philosophy of
Deleuze, and selected areas of wider twentieth-century Western
culture, which provided the context within which these two
seminal thinkers worked.
Addressing this topic from a variety of perspectives and
disciplines and with an eye to contemporary social, political, and
environmental crises, the contributors aim to clarify some of the
epistemological and ethical issues surrounding attempts, such as
those of Jung and Deleuze, to think in terms of the whole,
whether the whole in question is a particular bounded system
(such as an organism, person, society, or ecosystem) or, most
broadly, reality as a whole.

Estés, Clarissa Pinkola, Women Who Run With the Wolves. Contracting the Power of the Wild Woman, London, Rider, 1992.

Bluebeard In a single human being there are many other beings, all with their own values, motives, and devices. Some psychological technologies suggest we arrest these beings, count them, name them, force them into harness till they shuffle along like vanquished slaves. But to do this would halt the dance of wildish lights in a woman's eyes; it would halt her heat lightning and arrest all throwing of sparks. Rather than corrupt her natural beauty, our work is to build for all these beings a wildish countryside wherein the artists among them can make, the lovers love, the healers heal. But what shall we do with those inner beings who are quite mad and those who carry out destruction without thought? Even these must be given a place, though one in which they can be contained. One entity in particular, the most deceitful and most powerful fugitive in the psyche, requires our immediate consciousness and containment-and that one is the natural predator. While the cause of much human suffering can be traced to negligent fostering, there is also within the psyche naturally an innate contra naturam aspect, an "against nature" force. The contra naturam aspect opposes the positive: it is against development, against harmony, and against the wild. It is a derisive and murderous antagonist that is born into us, and even with the best parental nurture the intruder's sole assignment is to attempt to turn all crossroads into closed roads. Stalking the Intruder: The Beginning Initiation This predatory potentate 1 shows up time after time in women's dreams. It erupts in the midst of their most soulful and meaningful plans. It severs the woman from her intuitive nature. When its cutting work is done, it leaves the woman deadened in feeling, feeling frail to advance her life; her ideas and dreams lay at her feet drained of animation. Bluebeard is a story of such a matter. In North America, the best known Bluebeard versions are the French and the German. 2 But I prefer my literary version in which the French and the Slavic are mingled, like the one given to me by my Aunt Kathé (pronounced "Katie"), who lived in Csibrak near Dombovar in Hungary. Among our cadre of farmwomen tellers, the Bluebeard tale is begun with an anecdote about someone who knew someone who knew someone who had seen the grisly proof of Bluebeard's demise. And so we begin. = = = THERE IS A HANK OF BEARD which is kept at the convent of the white nuns in the far mountains. How it came to the convent no one knows. Some say it was the nuns who buried what was left of his body, for no one else would touch it. Why the nuns would keep such a relic is unknown, but it is true. My friend's friend has seen it with her own eyes. She says the beard is blue, indigo-colored to be exact It is as blue as the dark ice in the lake, as blue as the shadow of a hole at night. This beard was once worn by one who they say was a failed magician, a giant man with an eye for women, a man known by the name of Bluebeard. 'Twas said he courted three sisters at the same time. But they were frightened of his beard with its odd blue cast, and so they hid when he called. In an effort to convince them of his geniality he invited them on an outing in the forest. He arrived leading horses arrayed in bells and crimson ribbons. He set the sisters and their mother upon the horses and off they cantered into the forest. There they had a most wonderful day riding, and their dogs ran beside and ahead. Later they stopped beneath a giant tree and Bluebeard regaled them with stories and fed them dainty treats. The sisters began to think, "Well, perhaps this man Bluebeard is not so bad after all." They returned home all a-chatter about how interesting the day had been, and did they not have a good time? Yet, the two older sisters' suspicions and fears returned and they vowed not to see Bluebeard again. But the youngest sister thought if a man could be that charming, then perhaps he was not so bad. The more she talked to herself, the less awful he seemed, and also the less blue his beard.

These three illustrated audio lectures were offered as a prologue to Dr. Owens' in-depth lectures on C. G. Jung and the Red Book.  Tolkien also had a "Red Book" – The Red Book of Westmarch – and the similarity of the experiences behind these two imaginative creations is quite extraordinary.

J.R.R. Tolkien has emerged as one of the most important and enduring literary figures of the twentieth century. His masterwork, The Lord of the Rings, possesses an intriguing quality of "depth" and veracity that has evoked a sense of wonder in generations of readers. Those qualities have made it one of the most-printed and most-read books in history.

Very few readers appreciate the intensity with which Tolkien explored the beauty and perils of his imaginative world before ever starting down the road that led from the Shire to Mount Doom – the decade long labor of writing LOTR, begun by Tolkien in 1937.  These three lectures examine the broad span of Tolkien's life and work, with focus on Tolkien’s experience of imagination.

Tolkien understood his imaginative gifts and inclinations were unusual. Though rare, they are however not entirely unique. In the final lecture, we consider Tolkien’s place in the Western imaginative tradition, with special attention to the work and experiences of C. G. Jung and his "Red Book" – a work kept hidden for nearly a century and just released for publication in 2009.

Follow the link above, to gnosis.org, to hear the lectures.

The character of Dhul Qarnain, mentioned in the 18th Chapter of the Holy Quran is an archetypal figure that embodies the divine attributes required for leadership or kingship. This paper explores these prerequisite qualities that transform an individual into the "the Two-horned One" or Dhul Qarnain, thereby granting him the divine right to rule.

Two seminars introducing C. G. Jung's Red Book: Liber Novus. The first introductory series was delivered in 2010 and is comprised of four lectures. The second seminar, presented in 2011-12, is much more detailed and includes fourteen lectures.  Available in mp3 format at gnosis.org. 

Follow the link above (to gnosis.org) to see the lecture catalog and hear the lectures.

В статье рассматриваются фонтаны как архитектурные образы - произведения. Выполнен анализ фонтанов как архитектурных объектов. Выявлена связь фонтанов как материально - технических объектов с психологическим типом автора, по К.Г. Юнгу.

Fountains as an architectural imagery – creation are considered in article. Analysis of fountains as an architectural object is done. Connection of fountains as a materially – technical objects with psychological type of author, as per Carl Gustav Jung.

Список литературы
1. Виноградова В.И. Типология образов архитектурных объектов: психологический подход / Е. И. Виноградова, А. А. Барабанов // Вестник Томского государственного архитектурно-строительного университета. - 2011. - N 4. - С. 78-90. - Библиогр.: с. 90 . - ISSN 1607-1859
2. Спышнов П.А. Фонтаны. Описание, конструкции, расчет. – М.: изд. и 2-я тип. Гос. изд. архитектуры и градостроительства – Образцовая тип. им. Жданова, 1950. – 172 с.: ил.
3. Теодоронский В. С. Садово-парковое строительство: учебник для студ. высш. учеб. Заведений – М: изд. Московского гос. университета леса, 2003. – 338 с.: ил.
4. Юнг, К.Г. Психологические типы / К.Г. Юнг. – СПб. : Азбука, 2001. – 602 c.
5. Личный сайт Давида Черни [Электронный ресурс] : [личный сайт].- Режим доступа: http://www.davidcerny.cz/ (дата обращения: 11.07.2017) свободный. – Загл. с экрана. – Яз. англ.
6. Живая камера «Metalmorphosis».- Режим доступа: http://www.metalmorphosis.tv/ (дата обращения: 11.07.2017) свободный. – Загл. с экрана. – Яз. англ.
7. Личный сайт Йеппе Хейна [Электронный ресурс] : [личный сайт].- Условия доступа: http://www.jeppehein.net (дата обращения: 11.07.2017) свободный. – Загл. с экрана. – Яз. англ.
8. El Periódico de Aragón [Электронный ресурс] : [Печатное издание, выпуск 07.09.2017] Условия доступа: http://www.elperiodicodearagon.com (дата обращения: 11.07.2017) свободный. – Загл. с экрана. – Яз. англ.

Библиографическое описание для цитирования:
Церковная О.Г. (2017). Анализ фонтанов как архитектурных объектов и связь с психологическим типом автора проекта по К.Г. Юнгу. Актуальные проблемы архитектуры и дизайна: материалы Всерос.науч.конф.с междунар.уч. Екатеринбург: УрГАХУ, С. 276-281. URL: http://er.nau.edu.ua:8080/handle/NAU/39270

Il saggio si occupa del romanzo postumo di Parise "L'odore del sangue" centrando l'analisi sulla componente luttuosa legata all'erotismo senile. La cifra stilistica della visionarietà, connotata semanticamente dai tratti funebri dell'assenza, diventa esemplificazione simbolica di una nostalgia dell'eros che trova espressione in una fatale vocatio mortis.