By Paul Bishop
In this quantity, Paul Bishop investigates the level to which analytical psychology attracts on options present in German classical aesthetics. It goals to put analytical psychology within the German-speaking culture of Goethe and Schiller, with which Jung was once good familiar.
Analytical Psychology and German Classical Aesthetics argues that analytical psychology appropriates a lot of its critical notions from German classical aesthetics, and that, while noticeable in its highbrow historic context, the genuine originality of analytical psychology lies in its reformulation of key tenets of German classicism. even if the significance for Jung of German notion generally, and of Goethe and Schiller particularly, has usually been stated, in the past it hasn't ever been tested in any distinctive or systematic approach. via an research of JungвЂ™s reception of Goethe and Schiller, Analytical Psychology and German Classical Aesthetics demonstrates the highbrow continuity inside analytical psychology and the filiation of rules from German classical aesthetics to Jungian notion. during this means it means that a rereading of analytical psychology within the mild of German classical aesthetics bargains an intellectually coherent realizing of analytical psychology.
By uncovering the philosophical assets of analytical psychology, this primary quantity returns JungвЂ™s suggestion to its center highbrow culture, within the gentle of which analytical psychology earnings new serious impression and clean relevance for contemporary suggestion. Written in a scholarly but obtainable sort, this ebook will curiosity scholars and students alike within the components of analytical psychology, comparative literature, and the background of ideas.
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Additional resources for Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality
32 On ﬁrst seeing the cathedral, Dichtung und Wahrheit records, Goethe regarded ‘this marvel’ (dieses Wunderwerk) as ‘something monstrous and terrifying’ (ein Ungeheures) – or he would have done, ‘had it not at the same time seemed comprehensible in its disciplined order and even pleasant in its planful execution’ (GE 4, 266). On closer inspection, the cathedral – a true fascinans for Goethe – revealed to him more of its terrible, yet also beautiful, nature: The more I contemplated its façade, the more my ﬁrst impression was conﬁrmed and expanded, namely, that here sublimity and amenity [das Erhabene mit dem Gefälligen] had entered into a covenant.
L 2, 453). Those covert allusions to Luther – Gott helfe mir, ich kann nicht anders – as well as to Goethe – ich bin nun wie ich bin 18 – provide a nice example of Jung’s immodest modesty. In later years, Jung received visitors in Küsnacht with what appears to be the same mixture of engagement and irritation with which Goethe received his in Weimar. 22 In his letter to Jung of 17 October 1909, Freud had written that psychoanalysis needed to conquer two ﬁelds, mythology and biography. ‘I have had an inspiration’, Freud wrote to Jung, ‘the riddle of Leonardo da Vinci’s character has suddenly become clear to me’.
In April 1776 Goethe, with some ﬁnancial help from his friend Carl August, Duke of Sachsen-Weimar-Eisenach, purchased a small house in an overgrown garden at the foot of the Rosenberg (in what is now – thanks, in fact, to Goethe and Carl August – the Park an der Ilm). Goethe redesigned the interior of the house, creating a small English garden to its rear. Between 1776 and 1782 Goethe lived here, seeking respite from the business of the Weimar court and inspiration from nature, but even after he had moved into the house on the Frauenplan, he would continue to use the garden-house regularly.
Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality by Paul Bishop