Bollingen Series (General)
1 primary work • 52 total works
Book 650
For C. G. Jung, 1925 was a watershed year. He turned fifty, visited the Pueblo Indians of New Mexico and the tribesmen of East Africa, published his first book on the principles of analytical psychology meant for the lay public, and gave the first of his formal seminars in English. The seminar, conducted in weekly meetings during the spring and summer, began with a notably personal account of the development of his thinking from 1896 up to his break with Freud in 1912. It moved on to discussions of the basic tenets of analytical psychology--the collective unconscious, typology, the archetypes, and the anima/animus theory. In the elucidation of that theory, Jung analyzed in detail the symbolism in Rider Haggard's She and other novels. Besides these literary paradigms, he made use of case material, examples in the fine arts, and diagrams.
"This book became a landmark, set up on the spot where two ways divided. Because of its imperfections and its incompleteness it laid down the program to be followed for the next few decades of my life." Thus wrote C. G. Jung about his most famous and influential work, the one that marked the beginning of his divergence from the psychoanalytic school of Freud. In this book Jung explores the fantasy system of Frank Miller, the young American woman whose account of her poetic and vivid mental images helped lead him to his redefinition of libido while encouraging his explorations in mythology. Published in 1912 as Wandlungen und Symbole der Libido, this is a key text for the study of the formation of Jung's ideas and for understanding his personal and psychological condition during this crucial time. Miller's fantasies, with their mythological implications, supported Jung's notion that libido is not primarily sexual energy, as Freud had described it, but rather psychic energy in general, which springs from the unconscious and appears in consciousness as symbols. Jung shows how libido organizes itself as a metaphorical "hero," who first battles for deliverance from the "mother," the symbol of the unconscious, in order to become conscious, then returns to the unconscious for renewal. Jung's analytical commentary on these fantasies is a complex study of symbolic parallels derived from mythology, religion, ethnology, art, literature, and psychiatry, and foreshadows his fundamental concept of the collective unconscious and its contents, the archetypes.
No other god of the Greeks is as widely present in the monuments and nature of Greece and Italy, in the sensuous tradition of antiquity, as Dionysos. In myth and image, in visionary experience and ritual representation, the Greeks possessed a complete expression of indestructible life, the essence of Dionysos. In this work, the noted mythologist and historian of religion Carl Kerenyi presents a historical account of the religion of Dionysos from its beginnings in the Minoan culture down to its transition to a cosmic and cosmopolitan religion of late antiquity under the Roman Empire. From the wealth of Greek literary, epigraphic, and monumental traditions, Kerenyi constructs a picture of Dionysian worship, always underlining the constitutive element of myth.
Included in this study are the secret cult scenes of the women's mysteries both within and beyond Attica, the mystic sacrificial rite at Delphi, and the great public Dionysian festivals at Athens. The way in which the Athenian people received and assimilated tragedy in its immanent connection with Dionysos is seen as the greatest miracle in all cultural history. Tragedy and New Comedy are seen as high spiritual forms of the Dionysian religion, and the Dionysian element itself is seen as a chapter in the religious history of Europe.