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Leslie Gardner

scientific career, emotion was a marker of meaning for Jung and it was also a faculty of apprehension. Reactions in the word association test not only indicated deeper significance, but also revealed universal meaningful patterns, the underlying ‘givens’ of perception. Anger among potentially guilty suspects

Paolo Aite

emotions into image’, wrote that his endeavour to find ‘the images which were concealed in the emotions’ produced a sense of calmness and reassuredness. Fully aware that if he left those images ‘hidden in the emotions’, he would have been ‘torn to pieces by them’, he emphasised the importance, especially

E. Brodersen

. Dark, skeleton-faced Thanatos is feared because she/he introduces ‘finite’ time as a quickening impulse to change, which challenges safe, collective norms. Fearful emotions attached to change are invariably personified by an equally threatening image. By contrast, Eros, as youthful Cherub remains

Alexandra L. Fidyk

In highlighting symbolic events in the life of Canadian artist Emily Carr – her loss, her growing pains, her joys and her achievements – a case is made for a transformative relationship with the art complex. These events are initially narrated providing a backdrop to the first half of her life. At age 56, however, she had a numinous encounter that symbolized the transition to the second half of life, ushering in a new relationship with an autonomous intruder. For the next decade, her psychological maturation was reflected in developing her own painting methods, writing, and a more conscious relationship to self. In tracking these events and her accompanying psychological states, feelings and emotions, there is support for Jung's claim that the only genuine cure for neurosis is to grow out of it by attending individuation and thus to embrace ‘the approach to the numinous’. For Carr, such experiences arose through her relationship with ‘Mother Earth’, with the wildness of the Canadian west coast.

John Izod and Joanna Dovalis

). We would add, developing an implication of Barker's work, that such mini-shocks must affect the experience of emotion. She borrows Jennifer Deger's phrase – the ‘transformative space of betweenness’ (Deger, 2007 , p. 89) – to characterise the experience of contact between image, imaged, and viewer

Michael Evans

knowledge that although much of their method may be useful the underlying psychological premises do not necessarily need to be shared. This said, Peter Fuller made a significant contribution to what Kuspit calls the ‘psychoformalist’ approach with his ideas regarding the importance of the aesthetic emotion

Mark Saban

emotion or experience. On the truly psychological level, soul is ‘self-enclosed, self-sufficient; objective, cold; logical, not experiential; it is primarily not for us but for itself alone, absolutely self-referential and fundamentally departed’. In chapter 2, Giegerich makes the important

Ann Shearer

ever-increasing urgency. For Hillman, only a reawakening of the sense of soul in the world can save us, a re-awakening that rests on a trust in the emotions of desire, outrage, fear and shame ‘as the felt immediacy of the gods in our bodily lives, and their concern that this world, our planet, their

Robert A. Segal

, human versus God, matter versus spirit, body versus soul, good versus evil, thought versus emotion, thought versus language, belief versus knowledge – these oppositions are hackneyed. What has been said of others might be said of Jung: he enjoys the thrill of discovery. Whether these oppositions are in

Giuseppe Maffei

through that time and I had always known that world, separated from me only by time.  (Jung, 1961 , p. 286). For Jung it was like going back to his own youth, where that man had been waiting for him for five thousand years. The emotion perceived during an experience of déjà vu can be compared to the