Download e-book for iPad: Analytical Psychology and German Classical Aesthetics: by Paul Bishop

By Paul Bishop

In this quantity, Paul Bishop investigates the level to which analytical psychology attracts on options 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 lots of its significant notions from German classical aesthetics, and that, while visible in its highbrow old context, the genuine originality of analytical psychology lies in its reformulation of key tenets of German classicism. even if the significance for Jung of German idea as a rule, and of Goethe and Schiller particularly, has usually been said, in the past it hasn't ever been tested in any unique or systematic method. via an research of Jung’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 inspiration. during this manner it means that a rereading of analytical psychology within the mild of German classical aesthetics bargains an intellectually coherent knowing of analytical psychology.

By uncovering the philosophical resources of analytical psychology, this primary quantity returns Jung’s suggestion to its center highbrow culture, within the mild of which analytical psychology profits new serious impression and clean relevance for contemporary proposal. Written in a scholarly but obtainable sort, this booklet will curiosity scholars and students alike within the parts of analytical psychology, comparative literature, and the heritage of ideas.

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Additional resources for Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality

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47 Goethe, then, was a focal point for those associated with analytical psychology in its early years, as well as for Jung himself. Given Goethe’s fascination with Strasbourg cathedral, is it a coincidence that Jung’s childhood experiences, particularly his vision of God and Basel cathedral, became transmuted into an interest in Gothic architecture? Memories, Dreams, Reflections draws a link between the natural world as the locus of ultimate meaning and the architecture of Gothic cathedrals. For Jung, the woods were ‘the place where one most closely feels the deepest meaning and awe-inspiring workings [tiefsten Sinn und schauervolles Wirken]’ and trees ‘the immediate representation of the incomprehensible meaning of life’, an impression that was ‘reinforced’ when Jung became interested in Gothic cathedrals, where ‘the infinity of cosmos and chaos, of meaning and meaninglessness, of subjectless intentionality and mechanical law, was 28 Affinities between Goethe and Jung hidden in stone’.

Then again, in a letter to Baur-Celio of 30 January 1934, Jung posed as – and is presented by Noll as having actually been – the initiate of a mystery-cult. Claiming that he had undergone experiences ‘which are, so to speak, “ineffable”, “secret” because they can never be told properly and because nobody can understand them (I don’t know whether I have even approximately understood them myself)’, Jung quoted the opening lines of the ‘Mountain Gorges’ scene from the end of Faust, Part Two – The sheltering caves are deep.

Here Jung articulated the difference between an ‘analytic’ approach (Freud’s) and a ‘synthetic’ approach (his own) with reference to the appreciation of Gothic architecture and to the problem of interpreting Faust: Anyone who understands Faust ‘objectively’, from the causal standpoint, is – to take a drastic example – like someone who tries to understand a Gothic cathedral under its historical, technical, and finally its mineralogical aspect. But where is the meaning of the marvellous edifice? ] Where is the answer to that allimportant question: what goal of redemption did the human being of the Gothic period seek in his work, and how have we to understand his work subjectively, in and through ourselves?

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