scholarly journals Transpersonal Psychology And The Self-Field: An Overview Of The Works Of Jungian Analyst Erich Neumann

2018 ◽  
Vol 11 (11) ◽  
pp. 57
Author(s):  
Steven Herrman
Keyword(s):  
Transpersonal Psychology ◽  
Depth Psychology ◽  
The Self ◽  
Collective Unconscious ◽  
Structural Diagram ◽  
Tel Aviv ◽  
The World ◽  
History Of ◽  
Human Psyche ◽  
The Voice

In this essay the author gives a concise overview of the use of the word transpersonal in the life and writings of the Israeli Jungian analyst, Erich Neumann, who was born in Berlin Germany in 1905 and lived from 1934 until his untimely death, in 1960, in Tel Aviv. The paper provides readers with an overview of the correspondence that took place between Neumann and Jung from 1934-1959 and traces the way in which the word transpersonal was used in their mutual efforts to map out the terrain of the human psyche. What is made clear in the paper is that while Jung remained within the epistemological limits of empirical psychology in his theory of the collective unconscious, Neumann attempted to extend Jung’s epistemology into metaphysical territory, and in so doing he charted out a structural diagram of the psyche that extends beyond the archetypal field, to what he called the Self-field. The Self-field, Neumann argued, is a necessary postulate to include it in any complete inventory of depth-psychology that attempts to reach a new Weltanschauung. His attempts to extend Jung’s hypothesis of the Self into transpersonal territory began in his 1948 Eranos lecture in Ascona, Switzerland, “Mystical Man”. His calling from the Self led Neumann to venture forth a postulate of what he called a “New Ethic” for the field of depth-psychology as a whole. A distinction is made between the personal and archetypal shadow and evil, and the “Voice” Neumann refers to as part of the Transpersonal Self. The essay concludes saying it is tragic Neumann died at so young an age of 55, before he could formulate further how his Ethic related to his metaphysic. Neumann was the first Jungian analyst to present the world with a truly transpersonal theory of the Self that the author sees as essential reading for any transpersonal pedagogue who attempts to place Jungians in the history of the Integral movement. KEYWORDS Mystical man, numinous, Godhead, transpersonal, field-knowledge, Voice, Self-field, Wholeness, New Ethic, archetypal shadow, evil.

Epistemic media and critical knowledge about the self: Thinking about algorithms with Habermas

2021 ◽  
pp. 089692052110441
Author(s):  
Eran Fisher
Keyword(s):  
Digital Media ◽  
Historical Perspective ◽  
The Self ◽  
Theory Of Knowledge ◽  
Digital Platforms ◽  
Self Reflection ◽  
Types Of Knowledge ◽  
Critical Knowledge ◽  
The World ◽  
History Of

This article explores the ontology of personal knowledge that algorithms on digital media create by locating it on two axes: historical and theoretical. Digital platforms continue a long history of epistemic media—media forms and practices, which not only communicate knowledge, but also create knowledge. As epistemic media allowed a new way to know the world, they also facilitated a new way of knowing the self. This historical perspective also underscores a key difference of digital platforms from previous epistemic media: their exclusion of self-reflection from the creation of knowledge about the self. To evaluate the ramifications of that omission, I use Habermas’s theory of knowledge, which distinguishes critical knowledge from other types of knowledge, and sees it as corresponding with a human interest in emancipation. Critical knowledge about the self, as exemplified by psychoanalysis, must involve self-reflection. As the self gains critical knowledge, deciphering the conditions under which positivist and hermeneutic knowledges are valid, it is also able to transform them and expand its realm of freedom, or subjectivity. As digital media subverts this process by demoting self-reflection, it also undermines subjectivity.

A few words on Olga Tokarczuk’s The Land of Metaxy

2021 ◽  
Vol 37 (2) ◽  
pp. 53-72
Author(s):  
Barbara Tomalak
Keyword(s):  
Transpersonal Psychology ◽  
Quantum Physics ◽  
Collective Unconscious ◽  
The West ◽  
Analytic Psychology ◽  
The World ◽  
The Status ◽  
Actual Meaning

In her volume of essays The Tender Narrator, Olga Tokarczuk devotes one of them to The Land of Metaxy, which she calls – following Plato – a place between the world of humans and the world of gods. The status of this place is peculiar: it mediates between the worlds, and yet does not belong to either. It is from that place that characters come to the writer. An attempt to explain the actual meaning of Metaxy and who its inhabitants are boils down to four possible interpretations. We can analyse Metaxy in accordance with contemporary quantum physics and cosmology (parallel worlds), from the perspective of religious models created by the civilization of the West, according to the astrology of astral planes, and finally as a domain of collective unconscious, in accordance with Carl Gustav Jung’s analytic psychology and Stanislav Grof’s transpersonal psychology.

scholarly journals Fado – głos Portugalii

2019 ◽  
Vol 16 (1/2) ◽  
pp. 203
Author(s):  
Renata Gozdecka
Keyword(s):  
Cultural Identity ◽  
19Th Century ◽  
World Music ◽  
The World ◽  
The Matrix ◽  
History Of ◽  
The Voice

<p>Głównym założeniem niniejszego artykułu jest ukazanie dziejów pieśni fado oraz przybliżenie ich poetycko-muzycznej specyfiki. Stosownie do tego pierwszą część opracowania wypełni ogólny rys historyczny gatunku, drugą część natomiast poświęcimy omówieniu poetyki pieśni fado – rozpatrywanej od strony tekstu, cech muzycznych, z uwzględnieniem także roli najwybitniejszych śpiewaków.</p><p><strong>Fado – the Voice of Portugal</strong></p>SUMMARY<p>Fado – a characteristic genre of Portugal music which dates back to the mid-19th century – has gained importance and popularity for a several dozen years, not only in Portugal but in many other places in the world as well. Fado songs emanate with an emotional load and symbolic message especially due to the interpretations of expressive performers (such as Amalia Rodrigues or Mariza). Fado is, at the same time, one of the clearest genres in international circles of the world music and at the same time it is an image of the cultural identity of Portugal. It coexists with other genres of performative musical-poetic art, both popular and artistic ones; moreover as the matrix of identity of this country it is widespread among Portugal diaspora. The article presents the history of fado songs and their poetic-musical specifi city. The fi rst part of the study concerns historical description of the genre, the second part discusses the poetics of fado song – from the angle of its verbal text, music features, taking into consideration the most famous singers.</p>

Conclusion

2018 ◽  
Author(s):  
Leonard V. Smith
Keyword(s):  
International Relations ◽  
International Relations Theory ◽  
The State ◽  
The Self ◽  
Territorial State ◽  
Self Help ◽  
The World ◽  
History Of ◽  
Paris Peace Conference

This book has sought to deepen the dialogue between history and international relations theory in examining a pivotal moment in the history of international relations. The Paris Peace Conference constituted a historically specific effort to reimagine “the world.” More specifically, it sought to replace anarchy under realism with “sovereignty.” The conference could not live comfortably with the radical liberalism of Wilsonianism, but the international contract made at the time of the armistice with Germany meant that the conference could not live without it. The territorial state and its discontents lay at the heart of sovereignty at the conference. Two logics of the state fought each other to a standstill in Paris—that of the self-help of realism, forever seeking unattainable “security,” and that of the state that exists only in relation to other states, toward some common end.

The Case for Literature

PMLA ◽  
2001 ◽  
Vol 116 (3) ◽  
pp. 594-608
Author(s):  
Gao Xingjian
Keyword(s):  
Existence Of God ◽  
The People ◽  
The World ◽  
History Of ◽  
Way Of Knowing ◽  
The Voice

I have no way of knowing whether it was fate that has pushed me onto this dais but as various lucky coincidences have created this opportunity I may as well call it fate. Putting aside discussion of the existence or non-existence of God. I would like to say that despite my being an atheist I have always shown reverence for the unknowable.A person cannot be God, certainly not replace God, and rule the world as a Superman; he will only succeed in creating more chaos and make a greater mess of the world. In the century after Nietzsche man-made disasters left the blackest records in the history of humankind. Supermen of all types called leader of the people, head of the nation and commander of the race did not baulk at resorting to various violent means in perpetrating crimes that in no way resemble the ravings of a very egotistic philosopher. However, I do not wish to waste this talk on literature by saying too much about politics and history, what I want to do is to use this opportunity to speak as one writer in the voice of an individual.

Music as an Archetype in the 'Collective Unconscious'

1997 ◽  
Vol 7 (3) ◽  
pp. 187-200
Author(s):  
Anthony Palmer ◽  
Keyword(s):  
Chinese Culture ◽  
The United States ◽  
Sub Saharan Africa ◽  
Collective Unconscious ◽  
Human Beings ◽  
Religious Symbolism ◽  
The World ◽  
Cultural Conditioning ◽  
Human Psyche ◽  
Sub Saharan

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence of music making. Music qua music has been a part of human expression for at least some forty-thousand years (Chailley 1964; viii) and it could well be speculated that the making of music (the voluntary effort to use tonal-temporal patterns in consistent form that are meant to express meaning) accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts" (Sachs 1943; 20).Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins (Omstein 1991; Ch. 2), we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos (see, e.g., Campbell 1949 & 1976). This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological" (Larsen 1992; 19). Jung drew on a much wider cross-cultural experiential and intellectual base than Freud (Philipson 1963; Part II, Sect. 1). His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness (Hall and Nordby 1973; 25 & Cohen 1975; Ch. 4). Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music.

scholarly journals THE IMAGE OF THE CONFESSIONAL OTHERS: OLD-BELIEVERS WANDERERS IN THE ORAL HISTORY OF THE UPPER PECHORA AND UDORA KOMI-ZYRYANS

2021 ◽  
pp. 102-113
Author(s):  
Виктория Владимировна Власова
Keyword(s):  
Oral History ◽  
Social Life ◽  
Komi Republic ◽  
The Self ◽  
Old Believers ◽  
Key Indicator ◽  
Lack Of Information ◽  
The World ◽  
History Of ◽  
Refusal To Participate

Образы «других» являются неотъемлемой частью фольклорной картины мира, играя значимую роль в (само) идентификации этнических и конфессиональных групп. В ходе непосредственного общения формируются народные представления о конфессиональных особенностях «других», выделяется набор признаков, маркирующих их в качестве таковых. В статье рассматривается формирование и трансформация представлений о конфессиональном «другом» в моноэтничной поликонфессиональной среде на примере староверов-странников, проживавших в Удорском и Троицко-Печорском районах Республики Коми. Источниковой базой исследования послужили архивные данные и полевые материалы фольклорно-этнографических экспедиций, проходивших в начале 2000-х гг. Появление староверов-странников, позиционировавших себя как хранителей «истинной веры» и стремившихся максимально ограничить контакты с иноверцами, стало толчком для выделения этой группы в качестве конфессиональных «других». На верхней Печоре, на момент проведения исследований, страннические общины существовали; здесь сохранялась идеологическая конфронтация между разными группами верующих, что нашло отражение в различных локальных номинациях странников. На Удоре, где последователи странников исчезли в 1970-е гг., повсеместно использовался экзоконфессионим, не имевший оценочных коннотаций. Определяющее влияние на формирование представлений о странниках как о «других» оказали их религиозные практики. Ключевым показателем, характеризующим суть вероучения в глазах конфессиональных соседей, равно как и самих странников, стало «бегство от мира» — полный отказ от участия в государственной и общественной жизни, от любого взаимодействия с иноверцами. Не менее значимыми для системы представлений о данной группе были особенности погребальной обрядности (тайные похороны удорских странников) и крещения (крещение в пожилом возрасте). Закрытость повседневной и ритуальной жизни странников способствовала распространению слухов, компенсировавших отсутствие информации. Изменение исторических реалий (исчезновение удорских странников, изменение возрастного состава общин) вело к изменениям и коррективам существовавших представлений. The images of the Others are an integral part of the folklore worldview, also they play a significant role in the (self) identification of ethnic and confessional groups. Folk ideas about the confessional characteristics of the Others, as well as a set of features that allowed to mark them as the Others are formed in the course of direct communication. The article examines the formation and transformation of ideas about a confessional Other in a mono-ethnic and poly-confessional environment, using the example of Old-Believers Wanderers who lived in the Udorskii and Troitsko-Pechorskii districts of the Komi Republic. The article based on the archival data and field materials of folklore and ethno-graphic’ expeditions that took place in the early 2000s. The emergence of Wanderers, who were positioning themselves as keepers of the «true faith», and striving to limit contacts with non-Wanderers as much as possible, became the impetus for singling out this group as confessional Others. On the upper Pechora, where at the time of our research Wanderer’s communities existed, the ideological confrontation between different groups of believers were still persisted, that was reflected in various local nomination of Wanderers. On Udora, where the followers of the Wanderers disappeared in the 1970s, an outer nomination of this confessional group was widely used, which had no evaluative connotations. Their religious practices had a decisive influence on the formation of perceptions of the Wanderers as Others. The key indicator that characterizes the essence of the religion of the Wanderers in the eyes of their confessional neighbors, as for Wanderers themselves, was «flight from the world» – a complete refusal to participate in state and social life, and to have any interaction with representatives of the other faith. No less significant for the system of ideas about this group were the features of the funeral rituals (secret funerals of Udora’ Wanderers) and ritual of baptism (baptism in old age). The closedness of the daily and ritual life of the Wanderers contributed to the spread of rumors, which compensated the lack of information. Objective changes of the reality (the disappearance of Wanderers communities of Udora, the change in the age structure of the communities) led to changes and adjustments of the existing ideas.

James Joyce and the Phenomenology of Film

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
James Joyce ◽  
Critical Analysis ◽  
Literary Work ◽  
The Self ◽  
Historical Research ◽  
Early Cinema ◽  
Charlie Chaplin ◽  
The World ◽  
History Of

James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce’s writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the ‘inherence of the self in the world’. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce’s fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce’s literary work—Ulysses above all—into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.

Discourse and Diseases of the Psyche

2013 ◽  
Author(s):  
Grant Gillett ◽  
Rom Harré
Keyword(s):  
Conversion Disorder ◽  
Human Organism ◽  
Neural Function ◽  
Human Beings ◽  
The World ◽  
Human Psyche ◽  
Brain Pathways ◽  
Mode Of Being ◽  
Lost In Translation ◽  
The Voice

The discursive approach to psychiatry, taking as it does an ethological approach to the human organism, directs us to rules and story lines that structure our ways of dealing with the challenges thrown up by particular situated positions in our discursive world. For human beings this means engaging with the sense they are making of the world and the words they use to try and communicate that (to themselves and others). Doing things with words is behavior that draws on certain skills attuned to prompts, cues, expectations, and so on, all of which can go seriously awry in any setting where certain features are unfamiliar or where one of the participants is "impaired" or out of step with prevailing norms and assumptions. Discursive competence and the reality of the human psyche as a mode of being-in-relation-with others crucially depends on intact neural function and brain pathways slowly and cumulatively developed throughout life and is vulnerable to disruption of that substrate. Hysteria (or conversion disorder) and dementia represent two very different situations in which the discursive mismatch between an individual and his or her context of being causes the voice (and soul) of a person to be "lost in translation" so that understanding what is happening and then care and restoration demand a great deal of us not just as biomedical scientists but also as human beings who are reaching out to those who suffer and try to endure (patients) so as to help hold them in being.

First-Person Plural

Theater ◽  
2019 ◽  
Vol 49 (3) ◽  
pp. 5-19
Author(s):  
Daniel Sack
Keyword(s):  
Performance Art ◽  
The Self ◽  
First Person ◽  
Person Plural ◽  
The World ◽  
History Of ◽  
The Creation ◽  
Green Screen ◽  
First Person Plural ◽  
Self Reference

In Daniel Sack’s discussion of Nicola Gunn’s dramatic oeuvre, he finds a through line running between her works—one of self-reference and autofiction, a kind of playful knowledge of the self. In tracing this affinity between her pieces, in particular In the Sans Hotel, In Spite of Myself, Piece for Person and Ghetto Blaster, and Green Screen, Sack identifies the ways in which Gunn’s work speaks to both a contemporary moment in theater and the history of performance art, acknowledging the different baggage of the forms she references while coyly and fluently crossing between them. Sack sees in Gunn’s work the creation of heterotopias, places that open out onto an elsewhere, toward realities that simultaneously exist outside of the world and connect its disparate cultural manifestations together, from identity to ethics, politics to performance.

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