In an essay on Freud's notions of mourning and the transformations of libido, Jean Laplanche discusses the image of Persephone from Homer's Odyssey, nocturnally ‘unweaving’ at her loom in order to stave off the suitors, as an aspect of the translations and detranslations of ‘the other’, the unconscious, that give rise to temporality. In himself translating the ancient Greek word analuein, ‘unweaving,’ as ‘ana-lysing’, he suggestively re-casts Freud's project of psycho-analysis as the ‘disentangling, dissolution or resolution of souls’. Restoring the Greek words lysis and lysios back to their originary context as epithets and ritualized descriptors of the god Dionysos, Lysios, the ‘loosener’, ‘releaser’, ‘liberator’, untier of knots and bonds, this paper re-visions both the analytical process, as well as the intrinsic nature and function of the dream and dreaming, as performative enactments, which – like tragic drama – attempt to work through and mourn trauma, absence, separation, loss and our basic human finitude, the terms of our mortality and our no longer being in the world itself.
This article examines some basic premises of analytical psychology from the perspective of ethnopsychology. The creation of a Jungian ethnopsychological group in Italy has ignited the revisiting of the central therapeutic procedures of the basic Jungian model as well developing some reflections. Some of the themes this article addresses include the analytical relationship within an ethnopsychological context, the re-evaluation of the Persona, the relationship between analysis, anthropology and politics, the relationship between interpretation and amplification, and the use of archetypal material with patients from different socio–cultural backgrounds.
The aim of this article is to offer some reflections on the potential of analytical psychology in the field of psychiatric cure of psychotic patients mostly in the context of public mental health services. It will do so by drawing on Italian past and present experiences, as well as investigating future perspectives. The Italian mental health legislation which has been in force for 32 years now is still of particular value and shows how the clinical, political, economic and hermeneutic realms are interconnected and worthy of attention especially in the therapy of psychosis. Analytical psychology can and must set itself up as the organiser of meaning between the different fields of psychiatry, depth psychology and socio-psychiatry. Analysed in his social and political context, the therapy of the psychotic patient makes of individuation a political as well as a therapeutic act of searching for the Self of both individuals and systems. This would signal the return of analytical psychology to its roots in psychiatry from which it rose up and from which it split off as a result of grave inadequacies on both sides.
This paper examines the creative practice and product of the visionary artist, the artist who brings forth a new vision of wholeness for the social group. A description of the general creative process is provided according to Jung's view of the transcendent function. It is by this process that a new vision may be understood to arise. The activity and product of the visionary artist is then reified by situating it within an historical conception of the God-image and as a cultural canon. Drawing from Neumann, three phases or roles of the visionary artist are discussed: the establishment of a culture's new vision, the maintaining of the culture's existing vision, and the enduring of the fragmentation of a culture's ‘exhausted’ vision. A more detailed account, including examples, is then given for the role of the visionary artist within the present state of the West's cultural cannon – a state of fragmentation or, as it often known, the wasteland; a time when the spiritual wholeness has broken down. Finally the artist Peter Birkhäuser is briefly discussed to query the role that analytical psychology may explicitly play in supporting the visionary artist.
This paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case history illustrating Dionysian elements unfolding in the theater of Jungian analysis.