Pub Date : 2022-04-03DOI: 10.1080/00332925.2022.2119754
J. Feather
This article is a phenomenological journey into journal writing. By writing into their story, a writer might capture psyche from a multitude of angles and thereby come to know their deep and unique inner landscape. Dionysos, god of theater and masks, invites us in to explore the masks of identity that both conceal and reveal our true nature.
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Pub Date : 2022-01-02DOI: 10.1080/00332925.2022.2081478
Lynlee Lyckberg
Mark Rothko, who was greatly influenced by Freud, Jung, and Nietzsche, painted in the wake of the horrors of the Second World War, and his paintings can be thought of as remnants of an underworld journey for both the individual and collective psyche. From Nietzsche’s influence, Rothko’s mature works were characterized by a contemplation of deep depth and stillness. Created by layering thin washes of paint color onto the canvas, these paintings can be thought of as hologlyphs, or images embodying the symbolic union of the opposites, known as the German Liebestod, or “love death,” implicit in the alchemical opus. This “love-death” represents the unconscious desire human beings have to unite with the Divine (an integration of the Apollonian and Dionysian elements of consciousness). Rothko’s paintings contain aspects of both light and dark, while his use of red symbolizes an alchemical rubedo (rebirth). Rothko was influenced by Johannes Itten, who sought to develop a comprehensive aesthetic theory of color that originated in the experience and intuition of the painter, was deeply inspired by Eastern traditions, where light reveals to us the spirit and living soul of the world through colors, which are forces that express the subtle layering of energy that takes shape as matter and form. An exploration of alchemical and mythological theories of color reveals these subtle forces inherent in Rothko’s work.
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Pub Date : 2022-01-02DOI: 10.1080/00332925.2022.2082790
Molly Jordan
In this essay, the author explores how a cultural symbol, considered objectionable, and, depending on one’s proximity to it, even repulsive, can be transformed into something meaningful. The author attempts to describe the transformational potential of one such image—shit—when, instead of obeying her initial urge to turn away from it, she turns towards it.
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Pub Date : 2022-01-02DOI: 10.1080/00332925.2022.2083884
Kathleen Reeves
{"title":"Father with a Cigarette","authors":"Kathleen Reeves","doi":"10.1080/00332925.2022.2083884","DOIUrl":"https://doi.org/10.1080/00332925.2022.2083884","url":null,"abstract":"","PeriodicalId":42460,"journal":{"name":"Psychological Perspectives-A Quarterly Journal of Jungian Thought","volume":"65 1","pages":"125 - 125"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48757122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/00332925.2022.2082798
G. Tricarico
Every theory of the mind is a more or less successful attempt, made by the conscious psyche, to describe the indescribable by definition: the psychic process. Nevertheless, the immediate consequence of a theory of the mind is to define what is possible and what is not possible, within a psychotherapeutic journey, as if it builds walls and paths; after building them, it becomes necessary to pass precisely from there and not from any other place, unless one breaks down the walls.… Drawing the lines of a theory, thus, a theorist should remember to use pencil and eraser, so to say, in order to look back on what he or she has drawn and correct it, because defining what is possible and what is not, what is normality and what is pathology, is equal to stating what is “right” and what is “wrong.” -Tricarico (2015, p. 63)
{"title":"On the Analyst’s Biases: Examples of Heteronormativity and of Polyamory","authors":"G. Tricarico","doi":"10.1080/00332925.2022.2082798","DOIUrl":"https://doi.org/10.1080/00332925.2022.2082798","url":null,"abstract":"Every theory of the mind is a more or less successful attempt, made by the conscious psyche, to describe the indescribable by definition: the psychic process. Nevertheless, the immediate consequence of a theory of the mind is to define what is possible and what is not possible, within a psychotherapeutic journey, as if it builds walls and paths; after building them, it becomes necessary to pass precisely from there and not from any other place, unless one breaks down the walls.… Drawing the lines of a theory, thus, a theorist should remember to use pencil and eraser, so to say, in order to look back on what he or she has drawn and correct it, because defining what is possible and what is not, what is normality and what is pathology, is equal to stating what is “right” and what is “wrong.” -Tricarico (2015, p. 63)","PeriodicalId":42460,"journal":{"name":"Psychological Perspectives-A Quarterly Journal of Jungian Thought","volume":"65 1","pages":"99 - 109"},"PeriodicalIF":0.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43686253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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