Analytical Psychology and German Classical Aesthetics: by Paul Bishop

By Paul Bishop

In this quantity, Paul Bishop investigates the level to which analytical psychology attracts on ideas 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 lots of its critical notions from German classical aesthetics, and that, whilst noticeable in its highbrow historic context, the real originality of analytical psychology lies in its reformulation of key tenets of German classicism. even though the significance for Jung of German notion often, and of Goethe and Schiller particularly, has usually been stated, beforehand it hasn't ever been tested in any particular or systematic approach. via an research of Jung’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 proposal. during this method it means that a rereading of analytical psychology within the mild of German classical aesthetics deals an intellectually coherent knowing of analytical psychology.

By uncovering the philosophical resources of analytical psychology, this primary quantity returns Jung’s concept to its middle highbrow culture, within the gentle of which analytical psychology earnings new severe influence and clean relevance for contemporary concept. Written in a scholarly but available type, this publication 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

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Apparently alluding to Kant’s third Critique (but without giving a precise reference), Jung added that ‘one would like to say with Kant: play of chance, which equals the subtlest lucubrations of reason’. Claiming that he had read the essay on Leonardo straight through and planned soon to return to it, he noted that ‘the transition to mythology grows out of this essay from inner necessity’. 24 In his introduction to Transformations and Symbols of the Libido (1911–12), which sealed the break with Freud, Jung cited the essay on Leonardo as a methodological Affinities between Goethe and Jung 17 exemplar for his own study, speaking of the need ‘to broaden the analysis of the individual problems by a comparative study of historical material relating to them, just as Freud has already done in a masterly manner in his book on “Leonardo da Vinci” ’ (PU §5).

51 And, aside from their relationship to Gothic architecture, there are further affinities between Goethe and Jung in respect of their relationship to art, particularly architecture and sculpture. Goethe had a garden-house, and Jung had a tower. 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).

Jung knew of Oskar Pfister’s ‘discovery’ of a vulture in the painting of the Virgin and Child with St Anne, and he told Freud that he, too, had seen one, ‘but in a different place’. ) Apparently alluding to Kant’s third Critique (but without giving a precise reference), Jung added that ‘one would like to say with Kant: play of chance, which equals the subtlest lucubrations of reason’. Claiming that he had read the essay on Leonardo straight through and planned soon to return to it, he noted that ‘the transition to mythology grows out of this essay from inner necessity’.

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