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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.

In: International Journal of Jungian Studies

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.

In: International Journal of Jungian Studies

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.

In: International Journal of Jungian Studies

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.

In: International Journal of Jungian Studies

ABSTRACT

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.

In: International Journal of Jungian Studies
In: International Journal of Jungian Studies

A Jungian and archetypal psychology approach to aesthetics includes noticing which archetypes are activated when viewing or engaging with art. Archetypes provide vitality to art and can be accessed by viewers through attention to bodily responses and emotional awareness enhanced by imagination. Connecting these personal experiences to the collective requires framing viewers' responses within comprehensible patterns. Joan Kellogg's theory ‘The Archetypal Stages of the Great Round of Mandala’ offers a system for identifying archetypes as states of consciousness and making them accessible to a wide audience in order to aid understanding of one's responses to art.

In: International Journal of Jungian Studies

ABSTRACT

The Haida, a First People of British Columbia, evolved over 3000 years an art form which is rich in archetypal images. Most Northwest Coast anthropologists study only the form of Haida art, but Wilson Duff and George MacDonald have pursued its meaning using terms that echo analytical psychology. In this paper, I argue that the structure of shamanic cosmology and Haida moieties parallel the distinction in the human psyche which Marie-Louise von Franz called the Unconscious Above and the Unconscious Below. The ‘marriage of opposites’, the reconciliation of Logos and Eros, Duff saw symbolized in Haida art by the Copper, which I call the ‘Haida Anthropos’. Using this parallel with the chthonic and the celestial, I then amplify the myth of ‘Eagle Chain and Giant Clam’ as it was portrayed in two argillite totem poles, which I argue show the peripeteia and lysis of the myth.

In: International Journal of Jungian Studies

Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and also draw on my own experience as an artist in creating a series called ‘The ground of All Being’.

In: International Journal of Jungian Studies