The present study deals with the analysis and interpretation of a work of music with a mythological theme. The relationship between myth and music is described on structural, semantic and symbolic ...levels. The interpretation is based on the basic principles of the theory of archetypes formulated by Carl Gustav Jung and their usage in musicology. The purpose is to present a theoretical outline of the main methodological principles and approaches to works of music thematically inspired by mythology and the process of archetypal symbolisation. The study includes a presentation of hermeneutic forms of the relationship between myth and music, the theory of archetypes and archetypes in music, music symbolisation options and finally, an identification of the main principles and methods of music analysis from the archetypal point of view. Članak se bavi teorijskim oblicima odnosa mita i glazbe, dokumentirajući to na primjerima glazbenih djela tematski nadahnutih antičkom mitologijom ili njezinim kasnijim umjetničkim odrazima. Glazba i mit analiziraju se sa strukturnog i semantičkog gledišta i potom ih se interpretira iz perspektive teorije arhetipova Carla Gustava Junga. Mit i glazba razumijevaju se kao simbolička imaginativna slika ljudske psihe. Analiziraju se također odabrani Jungovi pristupi glazbi, a u obzir se uzimaju i teorije Claudea Lévi-Straussa, Karla Kerényija, Suzanne Langer, Eera Tarastija i Victorije Adamenko. Autor pravi razliku između mitske glazbe vezane uz mitsko stanje ljudskoga uma i mita u glazbi na strukturnim, tematskim i kombiniranim razinama. Pojam glazbenog arhetipa semantički je podijeljen na čisto strukturni element s ponavljanim javljanjem u glazbenoj kulturi, na arhetip u tematskoj komponenti glazbenih djela i na unutarnje načelo za stvaranje glazbe i umjetnosti na pozadini kolektivno nesvjesnog. Metodološka uporaba analitičke psihologije i načela glazbene analize ističu ideju o nekoliko glavnih principa koji se mogu primijeniti na interpretaciju glazbenog djela s mitološkom (arhetipskom) temom. U prvoj fazi interpretira se samo djelo i istražuje prisutnost arhetipskih simbola. Druga faza je proširenje tematskih arhetipova stvaranjem semantičkih klastera što se temelje na sličnosti arhetipskih manifestacija u različitim oblicima umjetnosti te religijskim i kulturnim sustavima koji se tiču glazbenih djela koje se interpretira. U trećoj se fazi potom ispituju struktura glazbenog djela i njegova estetička interpretacija uz pomoć suprotstavljanja mitoloških i glazbenih struktura u simboličkome smislu, a pritom se također rabe načela složene strukturne glazbene analize.
In recent discussions about the study of esotericism, the adjective “Western” has come under critical scrutiny. Shouldn’t “esotericism” be understood as a global rather than just a Western eld of ...research? Doesn’t the very concept of a “Western esotericism” logically imply that there must be an “Eastern esotericism” as well? If so, what would that be? And in what respects would this “esotericism” common to Eastern and Western cultures be different from non-esoteric cultural formations? Or is the terminology supposed to imply, to the contrary, that esotericism is something unique to Western culture, with no parallels elsewhere? But if so, what is it that makes it unique, and how are we supposed to define and demarcate “the West” from “the Rest”? Are we supposed to think in terms of a geographical space or of a cultural domain? In either case, doesn’t the very term “Western” imply an essentialist discourse with troubling political connotations and implications? The author of this article argues that these problems are best approached from a historical rather than a strictly theoretical perspective. Reviewing the most important stages in the conceptualization of “esotericism” as a distinct eld of study since the early modern period, he argues that it has always been theorized as a global rather than just Western phenomenon. Nevertheless, he concludes, it is advisable to maintain the concept of “Western esotericism,” not for reasons of conceptual theory but for reasons of historical method.
Archetypal shadow and music transformation in Thomas Mann's novel Doctor FaustusAbstract: The text deals with the novel Doctor Faustus by Thomas Mann as a source of a musico-literary poetics and ...mythopoetics. The archetypical symbol of the shadow is interpreted and amplified through the literary character of Adrian Leverkühn and a broader imagination tendencies of art and society in the first half of the 20th century. For this goal have been used approaches of the deep hermeneutics and the analytical psychology. The motif of the Faust has strong potential to express not only an archetyp of the shadow, but its present is significant in the time of transformation and changes.
Granville Stanley Hall (1844–1924) with William James (1842–1910) is the key founder of psychology of religion movement and the first American experimental or genetic psychologist, and Carl Gustav ...Jung (1875–1961) is the founder of the analytical psychology concerned sympathetically about the religious dimension rooted in the human subject. Their fundamental works are mutually connected. Among other things, both Hall and Jung were deeply interested in how the study of religious experience is indispensable for the depth understanding of human subject. Nevertheless, except for the slight indication, this common interest between them has not yet been examined in academic research paper. So this paper aims to articulate preliminary evidence of affinities focusing on the locus and its function of the inner deep psychic dimension as the religious in the work of Hall and Jung.
The behavioral sciences and Jung's analytical psychology are set apart by virtue of their respective histories, epistemologies, and definitions of subject matter. This brief paper identifies Jung's ...scientific stance, notes perceptions of Jung and obstacles for bringing his system of thought into the fold of the behavioral sciences. The impact of the "science versus art" debate on Jung's stance is considered with attention to its unfolding in the fin de siècle era.
This article proposes an approach to the novel Bekenntnisse des Hochstaplers Felix Krull by Thomas Mann from the point of view of the imaginal psychology of James Hillman. From this perspective the ...novel seems to illustrate the most innovative thesis of that psychology, which is especially relevant for having been written prior to the formulation of Hillman’s theories. The unplanned correspondence between both ways of thinking furnishes a valuable argument that supports the new conception of human psyche introduced by Carl Gustav Jung and developed in this way by James Hillman.
The development of a robust, holistic theological anthropology will require that theology and biblical studies alike enter into genuine interdisciplinary conversations. Depth psychology in particular ...has the capacity to be an exceedingly fruitful conversation partner for theology because of its commitment to the totality of the human experience (both the conscious and unconscious aspects) as well as its unique ability to interpret archetypal symbols and mythological thinking. By arguing for a psycho‐theological hermeneutic that accounts for depth psychology's conviction that myths about the origin of the world are always simultaneously myths about the origin and emergence of human consciousness, I demonstrate that the presence of numerous Jungian archetypes in Genesis 1–3 suggests that the narrative can be read from a psychological perspective without diminishing or marginalizing the dominant theological themes of exile and return. Furthermore, such a reading fundamentally suggests that the narrative is not about how sin entered into creation, but rather how consciousness emerged in human community.
This paper analyses how, prior to the work of Sigmund Freud, an understanding of infant and childhood sexuality emerged during the nineteenth century. Key contributors to the debate were Albert Moll, ...Max Dessoir and others, as fin-de-siècle artists and writers celebrated a sexualised image of the child. By the beginning of the twentieth century, most paediatricians, sexologists, psychologists, psychiatrists, psychoanalysts and pedagogues agreed that sexuality formed part of a child’s ‘normal’ development. This paper argues that the main disagreements in discourses about childhood sexuality related to different interpretations of children’s sexual experiences. On the one hand stood an explanation that argued for a homology between children’s and adults’ sexual experiences, on the other hand was an understanding that suggested that adults and children had distinct and different experiences. Whereas the homological interpretation was favoured by the majority of commentators, including Moll, Freud, and to some extent also by C.G. Jung, the heterological interpretation was supported by a minority, including childhood psychologist Charlotte Bühler.
De 1913 à 1916, le psychiatre suisse C. G. Jung (1875-1961) vit des visions intenses qu’il décide de noter au brouillon dans les Cahiers noirs, puis au propre dans un codex moyenâgeux, calligraphié ...et peint, appelé Liber novus (1915-1930). Jung n’en achève jamais l’écriture et ne le publie pas mais témoigne à plusieurs reprises de son importance dans l’élaboration de ses connaissances sur la psyché. Il est publié en 2009 en allemand et anglais, et en 2011 en français sous le titre Le Livre Rouge. Notre travail consiste en l’analyse épistémologique de l’expérience de Jung, de la création du Livre Rouge et de son utilisation dans sa carrière, à travers le prisme d’outils épistémologiques variés dont les thèses de Paul Karl Feyerabend (1924-1994), tenant de l’anarchisme épistémologique. Nous tentons ainsi d’expliquer et de comprendre une science qui se crée.
From 1913 to 1916, the Swiss psychiatrist C. G. Jung (1875-1961) lived intense visions that he decided to note in drafts in the Black Books, then in a medieval codex, calligraphied and painted, called Liber novus (1915-1930). Jung never finished its writing and did not publish it but he testified at several times its importance in the development of his knowledge about the psyche. The book is published in 2009 in German and English and in 2011 in French under the title The Red Book. Our work consists of the epistemological analysis ot Jung’s experience of The Red Book’s creation and its use in his career, through the various epistemological tools, including the theories of Paul Karl Feyerabend (1924-1994), creator of the epistemological anarchism. We try to explain and understand a science that is being create.
Scientific advances made in the 21st century contend that the forces of nature and nurture work together through an ongoing series of complex correspondences between brain and mental activity in our ...daily activities with others. Jung's cosmological model of the psyche minimizes the fundamental corporeal condition of human nature and as such is critiqued and amended, influenced by the transcendental materialist theories of subjectivity inspired by Žižek, Johnston and Laplanche.
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