By C. G. Jung, Joan Chodorow
The entire artistic paintings psychotherapies (art, dance, tune, drama, poetry) can hint their roots to C.G. Jung's early paintings on energetic mind's eye. Joan Chodorow right here deals a suite of Jung's writings on lively mind's eye, accrued jointly for the 1st time. Jung stumbled on his strategy among the years 1913 and 1916, following his holiday with Freud. in this time, he used to be disoriented and skilled intense internal turmoil - he suffered from lethargy and fears, and his moods threatened to crush him. Jung hunted for a mode to heal himself from inside of, and eventually determined to have interaction with the impulses and pictures of his subconscious. It was once during the rediscovery of the symbolic play of his early life that Jung used to be capable of reconnect together with his inventive spirit. In a 1925 seminar and back in his memoirs, he tells the extraordinary tale of his experiments in this time that ended in his self-healing. Jung discovered to boost an ongoing dating together with his vigorous artistic spirit during the energy of mind's eye and fantasies. He termed this healing strategy "active imagination." this system relies at the usual therapeutic functionality of the mind's eye, and its many expressions. Chodorow truly offers the texts, and units them within the right context. She additionally interweaves her dialogue of Jung's writings and ideas with contributions from Jungian authors and artists. Read more...
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Additional resources for Jung on Active Imagination
Lacking the active participation of consciousness there is the danger of identifying with a mood or dream or fantasy. ’ People may then discover thoughts in their mind they don’t even agree with. Passive fantasy is always in need of self-reflective, critical evaluation from the conscious everyday standpoint. Active fantasy does not require criticism: rather, the symbolic material needs to be understood (Jung 1921, par. 714). Starting points The raw material of the unconscious is mainly emotions, impulses and images.
Each author both reflects and extends Jung’s two-part outline. Looking at them together reminds me that there are many ways to approach active imagination. Perhaps in the deepest sense, each of us has to find our own way. Creative formulation versus understanding As the inner experience is given tangible form, it may help to be aware of two tendencies that arise: the aesthetic way of formulation and the scientific way of understanding. Each tendency seems to be the regulating principle of the other.
When Jung writes about active imagination, he seems to describe it from many overlapping perspectives. Sometimes he names the expressive medium, for example bodily movement, painting, drawing, sculpting, weaving, writing. Sometimes he uses words like ‘dramatic,’ ‘dialectic,’ or ‘ritual,’ as if to describe the quality of an inner event. Then there are times when he seems to describe a typology of the senses, for example, ‘visual types’ may expect to see fantasy pictures; ‘audio-verbal types’ tend to hear an inner voice (1916/58, par.