This essay reviews the recent book by Harald Atmanspacher and Dean Rickles, Dual‐Aspect Monism and the Deep Structure of Meaning. The essay aims to contextualize and clarify the book’s core argument ...about the theoretical and empirical fruitfulness of decompositional dual‐aspect monism as an intervention into the mind‐body problem that ascribes a pivotal role to meaning. The variants of dual‐aspect monism discussed were developed primarily by physicists, but the essay also highlights the crucial contributions to the argument by the one non‐physicist involved, Carl Gustav Jung, as well as noting the significance of dual‐aspect monism and of the reviewed book for analytical psychology.
Cet essai réexamine le livre récent d’Harald Atmanspacher et Dean Rickles, Le Monisme à double aspect et la Structure Profonde du Sens. Il vise à conceptualiser et clarifier l’argument central du livre, qui concerne la valeur théorique et empirique du monisme décompositionnel et à double aspect en tant qu’intervention dans le problème du lien entre le corps et l’esprit donnant un rôle clé au sens. Les variantes du monisme à double aspect qui ont été traitées ont été développées principalement par des physiciens, mais cet article souligne également les contributions cruciales sur le sujet par le seul participant qui n’était pas physicien; Carl Gustav Jung. L’article souligne également l’importance du monisme à double aspect et du livre en question pour la psychologie analytique.
Dieser Essay bespricht das kürzlich erschienene Buch von Harald Atmanspacher und Dean Rickles, Dual‐Aspect Monism and the Deep Structure of Meaning. Die Abhandlung zielt darauf ab, das Kernargument des Buches über die theoretische und empirische Fruchtbarkeit des dekompositionellen Monismus mit Doppelaspekt als Intervention in das Geist‐Körper‐Problem, das der Bedeutung eine zentrale Rolle zuschreibt, zu kontextualisieren und zu verdeutlichen. Die diskutierten Varianten des Monismus mit zwei Aspekten wurden hauptsächlich von Physikern entwickelt, aber der Text hebt auch die entscheidenden Beiträge zur Argumentation des einen beteiligten Nichtphysikers, Carl Gustav Jung, sowie die Bedeutung des Monismus mit Doppelaspekt hervor wie auch die Rezension des Buches im Hinblick auf die Analytische Psychologie.
Questo articolo esamina il recente libro di Harald Atmanspacher e Dean Rickles, Dual‐Aspect Monism and the Deep Structure of Meaning. Il saggio mira a contestualizzare e chiarire l'argomento centrale del libro sulla fecondità teorica ed empirica del monismo scompositivo a doppio aspetto come intervento nel problema mente‐corpo, che attribuisce un ruolo centrale al significato. Le varianti del monismo a doppio aspetto discusse sono state sviluppate principalmente da fisici, ma il saggio evidenzia anche i contributi cruciali all'argomentazione da parte di un non‐fisico, Carl Gustav Jung, oltre a sottolineare il significato per la psicologia analitica del monismo a doppio aspetto e del libro in esame.
В эссе приводится обозор недавно изданной книге Харальда Атманспахера и Дина Риклза "Дуально‐аспектный монизм и глубинная структура смысла.” Цель эссе – исследовать контекст и прояснить основной аргумент книги касательно теоретической и эмпирической ценности декомпозиционного двухаспектного монизма, понимаемого как интервенция в психофизиологическую проблему, которая ключевую роль отводит смыслу. Описываемые разновидности дуально‐аспектного монизма в основном предложены физиками, однако в эссе также подчеркивается решающий вклад в это обсуждение человека, не являющегося физиком – Карла Густава Юнга. Также отмечается значение дуально‐аспектного монизма и рецензируемой книги для аналитической психологии.
Este ensayo analiza el reciente libro de Harald Atmanspacher y Dean Rickles, Dual‐Aspect Monism and the Deep Structure of Meaning. El ensayo pretende contextualizar y aclarar el argumento central del libro sobre la fecundidad teórica y empírica del monismo descomposicional de doble aspecto como una intervención en el problema mente‐cuerpo que atribuye un papel fundamental al significado. Las variantes del monismo de doble aspecto analizadas fueron desarrolladas principalmente por físicos, pero el ensayo también destaca las contribuciones cruciales al argumento del único no físico implicado, Carl Gustav Jung, además de señalar la importancia para la psicología analítica del monismo de doble aspecto y del libro analizado.
物理学家中的荣格:关于双视角一元论和意义的深层结构的综述
这篇文章回顾了哈拉尔德‐阿特曼斯巴赫和迪安‐里克尔斯最近的著作《双视角一元论和意义的深层结构》。这本书的内容是分解式双视角一元论在理论和实证上的成果。这篇文章的目的是对这本书的核心论点进行梳理和澄清。这一理论作为对心身问题的干预, 赋予了意义以关键的作用。文章所讨论的双视角一元论的变体主要是由物理学家开发的, 但文章也强调了作为非物理学家的卡尔‐古斯塔夫‐荣格对这一观点的重要贡献, 并指出了双视角一元论和这本书对分析心理学的意义。
Il problema dell'inconscio nella psicologia moderna The problem of the unconscious in modern psychology, published in 1942, was the first of Jung's books translated into Italian. The original German ...title was Seelenprobleme der Gegenwart Soul's problems of the future, a collection of previously-issued short essays. The present paper reconstructs the story of how the book was chosen and eventually published, describing the historical and personal context surrounding the protagonists (translators and publisher) of the volume. The political and cultural situation of the time in Italy is presented: the country was dominated by Catholic culture and Idealism, both obstacles to the spread of psychology. The condition of Italy is compared with that of Germany with respect to the possibility of Freud's and Jung's ideas circulating. Then the paper describes the specific context in which Giovanni Bollea, who had the idea of translating Jung's book in Italy, worked. The role of Bollea's wife, Renata Jesi, is also highlighted. Bollea's relationship with the Einaudi publishing house and with Jung is also explained. Finally, an attempt is made to show the relevance of this episode in the history of Italian culture and its consequences.
"Tales of an unconscious" is the first book by Evaristo Montaño; the author presents in this work a collection of stories or micro-stories with a marked oneiric accent, in which he contributes ...originality and literary quality, being his work influenced by Carl Gustav Jung and Gabriel García Márquez, among other authors
Predmet je istraživanja autonomija umjetnosti iz jungovske perspektive. Ono što je Jung pri vlastitom shvaćanju neovisnosti umjetničkog procesa imao na umu jest sloboda u odnosu na svjesnost ...umjetnikova uma, prije negoli njegova neovisnost o trenutnim društvenim, političkim ili kulturnim uvjetima. Prema Jungu, umjetnost je autonomna kada dolazi iz dubljih razina ljudske psihe, iz domene onog nesvjesnog. Da bih provjerila valjanost Jungova »autonomnog kompleksa«, analizirat ću empirijsku realnost umjetničkog stvaranja, prezentirajući sindrome profesionalnih umjetnika vezane uz kreativni proces. Također, propitat ću kategorički položenu i duboko ukorijenjenu ideju o bliskoj vezi između umjetničkog talenta i mentalne bolesti, nastojeći otkriti može li umjetnički proces biti neovisan od umjetničkog psihološkog stanja. Prema Jungovu pogledu, umjetnost se događa namjesto, a ne poradi potencijalne umjetnikove bolesti. Osim toga, njegovu ću mišljenju suprotstaviti Freudovo, za kojega je umjetničko djelo sublimacija seksualnog nagona ili proizvod neuroze, a ta je ideja za Junga je bila neprihvatljiva, s obzirom na to da je vjerovao u postojanje ne samo seksualnog nego i umjetničkog kompleksa. Naposljetku, pokušat ću dokazati da je Jungovo viđenje u prikazu umjetničkog procesa preciznije od Freudova i da njegovo naglašavanje autonomije u umjetnosti, iako radikalno, zaslužuje više pozornosti učenjaka na polju filozofije i psihologije umjetnosti.
The subject matter of the essay is the autonomy of art, which will be analysed from a Jungian perspective. What Jung had in mind with his notion of the independence of the artistic process is its freedom from the conscious mind of an artist, rather than its independence from the current social, political or cultural conditions. Art, according to Jung, is autonomous if it comes from deeper levels of the human psyche, and that is unconsciousness. To test the validity of Jung’s "autonomous complex", I will be checking the empirical reality of artistic creation,
by providing professional artists’ accounts of the creative process. Also, I will challenge the categorically laid and the deeply rooted idea
of a close link between artistic talent and mental illness, trying to see if the artistic process can be independent of an artist’s psychological state. In Jung’s view, art happens instead of and not because of potential illness of an artist. Additionally, I am going to contrast his view with Freud’s, for whom an artwork is a sublimation of sexual drive or a product of neurosis. This idea was not acceptable to Jung, as he believed in the existence of not only sexual but also art complex. Finally, I will try to argue that Jung’s view is more accurate in the depiction of artistic process than Freud’s and that his emphasis on the autonomy in art, although radical, deserves more attention from scholars in philosophy and psychology of art.
The article draws attention to the possible parallels between the ideas on creativity of French composer Charles Koechlin and those of psychiatrist Carl Gustav Jung, although they were not familiar ...with each other’s work. Basic concepts of Koechlin’s poetics include intuition, sentiment and sincerity, which will be illuminated by the analogous concepts of Jung. The article shows that composers’ dominant psychological function, as Jung defined it, can determine how one reflects on music, musical composition and the act of listening to music.
Članak upućuje na moguće poveznice među stavovima o kreativnosti između francuskog skladatelja Charlesa Koechlina i psihijatra Carla Gustava Junga, iako nijedan od njih nije bio upoznat s radom onoga drugoga. Među temeljne pojmove Koechlinove poetike ubrajamo intuiciju, sentiment i iskrenost, koji će biti osvijetljeni kroz analogne pojmove analitičke psihologije Carla Gustava Junga. Članak želi pokazati kako skladateljeva dominantna psihološka funkcija, onako kako je definira Jung, može odrediti kako će skladatelj o glazbi razmišljati, kako će glazbu slušati, i kako će usmjeriti svoju teoriju skladanja, odnosno poetiku. Koechlin glazbu definira kao određeni odraz ljudske psihe, koji se kao takav ne iscrpljuje u osjetilnom (slušnom), već je drugi njegov važan element »efekt numinoznog«, koji Koechlin naziva sentimentom. Skladatelj može skladati glazbu imajući na umu sentiment, te slušatelj može doživjeti sentiment u glazbenom djelu samo ako se nalaze u (psihološkom) stanju koje Koechlin naziva iskrenost. Iskrenost može biti narušena stvaranjem lažnog ja, stoga članak u posljednjem dijelu razmatra moralna pitanja otvorena kroz Koechlinove spise.
Bu çalışmada, insanın içerisine doğduğu ve içerisinde sosyalleşerek büyüdüğü kültürün;dış dünyayı, çevreyi, diğerlerini, sembolleri, görsel anlatı yapısını vb. algılamasındaki etkileriüzerine ...çalışılmıştır. Bu amaçla ilk önce kültürün ne olduğu, içerisinde neler barındırdığı,bireyler ve toplum açısından ne tür işlevleri olduğu, insan algısındaki rolü ve neleri, neşekilde etkilediği üzerinde durulmuştur. Daha sonra, kültürden bağımsız olarak tüm insanlığınzihninde ortak birtakım semboller olduğunu ve bu sembollerin insanlık tarihi boyunca çeşitlikültürlerde tekrar tekrar kendini gösterdiğini öne süren Carl Gustav Jung’un kolektif bilinçdışıkuramı ve arketip kavramı açıklanmıştır. Bu makalenin alan çalışması, Japon anime yönetmeniHayao Miyazaki’nin Ruhların Kaçışı filmi üzerinden gerçekleştirilmiştir. Bu nedenle de, bufilmde sembolleri kullanılan ve Japonya’nın en yaygın inanışı olan Şinto aktarılmış ve sözkonusu inanışın temel prensipleri açıklanmıştır. Ardından, filmin bu inanış bağlamında biranalizi yapılmış ve filmde Şinto izleri aranmıştır. Daha sonra ise film, Türkiye’deki üniversiteöğrencilerine izletilmiş ve öğrencilerin, filmin kodlarını nasıl çözdüklerini anlamaya yöneliksoruları cevaplamaları istenmiştir. Amaç, Japon kültürüne ve inanışlarına yabancı bireylerin filmile ilgili algılarının analiziyle ortaya çıkan sonucun, filmin Şinto inanışı ile analizinin sonucundanne kadar farklılaştığına bakmaktır. Böylece, bireyin sembolleri yorumlaması açısından kültürünve kolektif bilinçdışının rollerinin neler olduğu konusunda bir fikir edinmek amaçlanmıştır.
In this paper, I consider Patricius’s argument on integrality laid out in “Pampsychia”, least researched book belonging to Nova de universis philosophia (1591), in comparison with the notions, ...methodologies and pragmatic reach of the contemporary science of human psyche. I attempted to determine can the argument correspond to the methodological instrument of psychology or the relation is disjunctive, that is, in animosity. I emphasise Patricius’s reflection on the mind-centeredness of the soul while trying to point at the dynamic and dialectical character of the psyche phenomenon as the fundamental determinant of Patricius’s psycho-ontology and the importance of implementing philosophical reflection into the mental health system framework, as a precondition for the holistic, integrative approach to the problem.
In this article, I draw on historical and conceptual arguments to show, first, that disenchantment and the influential view of the relationship between science and religion to which disenchantment ...gives rise are rooted in the metaphysics of theism. I then introduce the alternative metaphysical position of panentheism and identify Jungian psychology as an important, if implicit, mid‐twentieth‐century instance of panentheistic thought. Using the example of Jungian psychology, I demonstrate how the viewpoint of panentheism undoes the implications of disenchantment for the relationship between science and religion, promoting greater opportunities for dialogue and reconciliation between science and religion. I note, however, that these closer relations may depend on understanding science and religion differently from how they are understood under disenchantment. While the original tension between science and religion is eased, another tension—between panentheistic and disenchanted understandings of science and religion—is exposed. I conclude by reflecting on some implications of this discussion for sociology.
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