3,721 research outputs found
ExPDrug: Integration of an interpretable neural network and knowledge graph for pathway-based drug repurposing
No full texthttp://dx.doi.org/10.13039/501100003653 Korea National Institute of Healthhttp://dx.doi.org/10.13039/501100014188 Korea Ministry of Science and IC
Apophatic Elements in the Theory and Practice of Psychoanalysis: Pseudo-Dionysius and C.G. Jung
No full textThis thesis identifies apophatic elements in the theory and practice of psychoanalysis through an examination of Pseudo-Dionysius and C.G. Jung. Pseudo-Dionysius brought together Greek and Biblical currents of negative theology and the via negativa. The apophatic concepts and metaphors which appear in the work of Pseudo-Dionysius are identified. The psychology of Jung can be read as a continuation and extension of the apophatic tradition. The presence of neoplatonic themes in Jung’s work is discussed, as well as his references to Pseudo-Dionysius. There is a thorough examination of Jung’s discussion of opposites, including his reception of Nicholas of Cusa’s concept of the coincidence of opposites. The role of the transcendent function in Jung’s psychology is reviewed. The work of contemporary scholars of religion, philosophers and Jungian theorists are compared to Jung’s using the lens of apophasis. There is an exploration of ways in which motifs in Pseudo-Dionysius’ Ecclesiatical Hierarchy resonate with contemporary psychoanalytic psychotherapy. This study demonstrates that apophatic motifs saturate Jung’s work. It provides a platform for research into apophasis in the wider field of psychoanalysis
Poiesis and Obstruction in Art Practice
No full textThis PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting
Finding Jung
No full textContributions by David H. Rosen. Foreword by Sir Laurens van der Post. 224 pp. 46 b&w photos. Bib. Index.Frank N. McMillan Jr., a country boy steeped in the traditional culture of rural Texas, was summoned to a life-long quest for meaning by a dream lion he met in the night. On his journey, he followed the lead of the founder of analytical psychology, Carl Jung, and eventually established the world���s first professorship to advance the study of that field.
McMillan, born and raised on a ranch near Calvert, was an Aggie through and through, with degrees in geology and petroleum engineering. As an adult working near Bay City, Texas, he was lunching in a country caf�� when by chance he met abstract expressionist painter Forrest Bess, who was ecstatically waving a letter he had received from Jung himself. The artist���s enthusiastic description of Jung as a master psychologist, soul doctor, and healer led McMillan to the Jung Center in Houston, where he began reading Jung���s Collected Works. McMillan frequently said, ���Jung saved my life.���
Finding Jung: Frank N. McMillan Jr., a Life in Quest of the Lion captures McMillan���s journey through the words of his own journals and through reflections by his son, Frank III. David Rosen, the holder of the first endowed McMillan professorship at Texas A&M University, adds insights to the book, and the late Sir Laurens van der Post, whom the elder McMillan met at the Houston Jung Center in 1979, authored a foreword to the book before his death.
This is a story that sheds light on the inner workings of the self as well as the Jungian understanding of the Self. In often lyrical language, it gives the human background to a major undertaking in the dissemination of Jungian scholarship and provides a personal account of a life lived in near-mythic dimensions. FRANK N. MCMILLAN III, an author, educator, and speaker, has been active in worldwide Jungian circles for the past twenty-five years. A former board member of the C. G. Jung Educational Center of Houston and a member of the International Association of Jungian Studies, he lives in Corpus Christi
C.G. Jung et les théologiens
No full textHélène Kiener. C.G. Jung and the theologians. (C.G. Jung et les théologiens.)
This article is by one of the students of the psychologist C.G. Jung. She practised as a Jungian psychoanalyst in Strasbourg from 1946 to 1970. She deals here with the theological dimension, mostly implicit, of Jung's thouth, which is generally overlooked by theology. The author shows how the major theologians, who are the exception to the general rule, make room for Jungian anthropology, and she calls for a more open attitude in theology, because of the light thrown by Jung's thought on many theological statements.L'article qu'on lira est d'une élève du psychologue des profondeurs C. G. Jung. Elle a pratiqué elle-même l'analyse jungienne à Strasbourg de 1946 à 1970. La question traitée porte sur la dimension théologique généralement implicite de la pensée de Jung, assez négligée d'une manière générale par la théologie. L'auteur expose la manière dont les principaux théologiens, qui font exception , font droit à l'anthropologie jungienne, et en appelle à une ouverture plus grande de la théologie en raison de la lumière que la pensée de Jung jette sur bien des affirmations théologiques.Kiener Hélène. C.G. Jung et les théologiens. In: Revue d'histoire et de philosophie religieuses, 60e année n°3, Juillet-septembre 1980. pp. 293-311
C.G. Jung: 50 years after his death
No full textThe article describes one individual's journey with analytical psychology from the time that Jung was still alive until the present. The author began his career in psychiatry one year after Jung's death, having met Jung prior to his death. He has experienced what it has meant to be Jungian for the past 49 years, and how the image of Jung has changed over that period of time. His experience is mainly in the English-speaking world but also as president of the International Association for Analytical Psychology (IAAP) he has experienced the growth of analytical psychology around the world.</jats:p
Shadow Problem, Fear Problem: Jung Meets Fearanalysis
No full textThis paper is a first engagement of the author's work on fear with Jung's depth (analytical) psychology. Fearanalysis, created by the author 20 years ago in nascent and unsystematic form, is maturing in the last few years and considered by the author as a newest shoot from that root of psychoanalysis...
Art and the unconscious : a semiotic case study of the painting process
No full textThis dissertation is an attempt to design an interpretation model for the comprehension of unconscious content in artworks, as well as to find painting techniques to free the unconscious mind, allowing it to be expressed through artwork. The interpretation model, still in its infancy, is ripe for further development. The unconscious mind is a fascinating subject—in art production as well as in many scientific fields. This hidden part of the mind, being the source of creativity, constitutes an important foundation for many possible and valuable inquiries in multiple areas of knowledge. In the present study, the unconscious is approached from an art-educational perspective.
The nature of the unconscious is addressed through the theories of Carl Gustav Jung and Charles Sanders Peirce, as well as through the information gained from data the author produced herself during the experimental painting process she devised for this study. For psychological distinctions not addressed by Jung, the theories of Sigmund Freud are used to forward this inquiry into the unconscious mind.
A research method was created to bring Peirce’s theories into consonance with Jung’s amplification method. Since Peirce’s theories are challenging to read, to avoid misinterpretation, the author used Phyllis Chiasson’s 2001 book Peirce’s Pragmatism: The Design for Thinking as a secondary source. Peirce’s three modes of reality—firstness, secondness, and thirdness—were utilized to interpret artworks. This three-mode reality allows interpreters to reflect on their subjective feelings and then to compare them to collected data. The interpreters’ intuitive self-interpretations often correlate well with the more objective data.
In this approach to interpretation, the work of art is seen as a sign, in the Jungian as well as in the Peircean sense, and interpretation seeks to discover a sign’s objects—icon, index, and symbol. Additionally, the objects are studied in combination with Peirce’s designation of the sign’s character elements—sinsign, qualisign, and legisign. Peirce’s theory offers a logical and productive structure for approaching a variety of signs and reaching a multiplicity of interpretations.
Jungian theories inculcated a combined psychological and artistic perspective for the interpretation of artworks. Jung’s method of amplification is an effort to bring a symbol to life, and it is used as a technique to discover—through the seeking of parallels—a possible context for any unconscious content that an image might have. In amplification, a word or element—from a fantasy, dream, or, in this study, artwork—is associated, through use of what Jung called the active imagination, with another context where it also occurs. It must be remembered that unconscious images in artworks do not easily open themselves up for interpretation. One way to interpret possibly unconscious images is for the interpreter to become vulnerable by employing his or her own unconscious mind to interpret an artwork; such use of the active imagination can enable a subjective experience of the artwork on the part of the interpreter, who might thereby uncover unconscious content.
Moreover, in this study, Jung’s theory of archetypes is employed, in parallel with Peirce’s and Jung’s theories of the sign, to illuminate an artwork’s images by connecting them with collective unconscious archetypes. The author relied upon The Book of Symbols: Reflections on Archetypal Images (Ronnberg and Martin 2010) as the main source for interpreting possibly unconscious elements in the artworks. This approach is especially powerful when artists interpret their own artwork—possibly leading to a galvanizing self-discovery as they revisit past encounters, personal highlights, and other pieces of unconscious content that might reveal previously unknown meaning important to their life. By comparing archetypes to the unconscious content in their own lives, people can discover themselves.
Unconscious phenomena were approached on both the theoretical and empirical levels. Different methods and ideas were used to stimulate the author’s unconscious thinking while performing artwork analyses of three paintings: surrealist Salvador Dalí’s (1904–1989) Assumpta Corpuscularia Lapislazulina; abstract expressionist Jackson Pollock’s (1912-1956) The Deep; and one painting by the author herself, and for which the process of painting is videorecorded (www.astagallery.com/academic.html).
With regard to the third painting interpreted, the author is the study subject, and her artistic production is used as an opportunity to explore the unconscious mind. During the act of painting, an attempt is made to free unconscious thinking by fusing Dalí’s and Pollock’s methods as well as by testing multiple other methods. The author’s artistic production was conjoined with use of a technique that is called the verbal protocol method, which generates additional data not necessarily visible in the final artwork. This method unseals the artist’s tacit knowledge, which in normal circumstances remains silent.
In the verbal protocol method, the author, while engaged in the act of painting, speaks aloud the stream of consciousness that accompanies and guides the art-making activity; the recorded and transcribed monologue from the artistic production is supplied, in both Finnish and English, in appendices. This thinking-aloud technique allows a person to become more self-aware and to create more solutions while struggling with emergent artistic problems. Such narratives can reveal more about the painting than the completed artwork alone can convey. Along with the artist’s finished painting and the videorecorded material, narratives produced during the painting activity were interpreted. Moreover, the discoveries arising from the author’s interpretation of her own artwork are correlated with some of the latest research on the unconscious.
This study allows the reader-viewer an intimate glimpse into the author’s subjective painting experience and demonstrates the participation of the unconscious in an artwork’s creation. The interpretations methodology constitutes an interpretation model suitable for other artists and art educators to follow.
Keywords: unconscious, art, archetype, mandalaei tietoa saavutettavuudest
Merkur on Jung on ethics, mysticism, and religion
No full textABSTRACTInJung’s Ethics, Dan Merkur, a psychoanalyst in Toronto and the author of many books on the Inuit, psychoanalytic theory, mysticism, and drug-induced religious experience, here writes for the first time on Jungian psychology. Merkur is not abandoning Freud for Jung. A Freudian he remains. But he seeks to contrast Jung positively to Freud. Merkur draws scores of contrasts. Some of them are already known, some not. But even when the contrasts are known, Merkur illuminates them. He is especially concerned with the difference between Freud and Jung on the relationship of psychology to religion. Where Freud seeks to replace religion by psychology, Jung seeks to make psychology itself religious. Whether Jung in fact succeeds in tying psychology so tightly to religion, as Merkur contends, is considered.</jats:p
Juncus kuohii Jung, 2013, sp. nov.
No full textJuncus kuohii M.-J. Jung, sp. nov. (Figs. 1 A–J & 3) TYPE:— TAIWAN. Nantou Hsien: Jen-ai Hsiang, Hohuan Hostel, 121° 17'01" E, 24° 08'33" N, 3210 m, 13 September 2012, M.- J. Jung 5955 (holotype TAIF!; isotypes HAST!, TNU!). Juncus kuohii is similar to J. fauriensis in appearance, but can be differentiated by more cataphylls at the base of the plant, the sheath apex with or without inconspicuous auricles, and the dark brownish outer tepals with light or dark central band and castaneous to dark brownish side. Perennial, 10–40 cm tall, caespitose; rhizome short, horizontal, to 2 cm long; culms terete, rather stout, base bulb-like, nodes 1 or 2; flowering culm 1-noded. Cataphylls 2–5, basal, to 15 cm long, to 2 mm wide, pluritubulose, imperfectly septate, pale greenish to brownish tinged with purplish margin. Cauline leaves 1–2; sheath pale greenish, margin hyaline, membranaceous; auricles inconspicuous or not present, oblong when present, hyaline, membranaceous, to 1 mm long; blade linear, flat, pluritubulose, imperfectly septate, apex obtuse to acute, base narrower than sheath apex, pale greenish to pale brownish, to 6 cm long, to 2 mm wide. Inflorescence terminal, racemose, composed of 3–6 obconical head of 3–6 flowers, on a peduncle 0.5–4 cm long. Lower bract leaf-like, linear, apex acute, to 4 cm long, to 2 mm wide, nearly equal to inflorescence in length. Bract narrowly ovate, 5–5.5 mm long, apex acuminate and mucronate, dark brownish, inconspicuously 3-nerved, margins hyaline, membranaceous; pedicel to 2 mm long, glabrous. Perianth parts 6, equal or nearly equal in length; outer tepals 3, lanceolate to narrowly ovate, apex acute to acuminate, mucronate, 4.5–4.7 mm long, central part pale or dark brownish, sides castaneous to dark brownish, margin membranaceous and hyaline, veinless; inner tepals 3, oblong, apex round, totally dark brownish, veinless, 3.5–3.7 mm long. Stamens 6; filament to 1 mm long, anther ca. 1.1 mm long. Pistil 1, ovary ca. 2.5 mm long, ca. 1.5 mm wide; style to 0.5 mm long, stigma 3-lobed, to 1 mm long. Capsule trigonous, ellipsoid, unilocular, 2.5–3.5 mm long, dark brownish. Habitat, distribution and IUCN Red List category: — Juncus kuohii M.- J. Jung occurs in grassland in a wetland area, where there is full sun, in a ditch on the ridge at high elevation (about 3210 m) of central Taiwan (Fig. 2). This species grows into a dense clump. It occurs with Carex nubigena D. Don (1823: 455) and Primula miyabeana Ito & Kawakamii (1911: 1). Only one population was found, and its distribution is less than 1 km 2. According to the IUCN Red List criteria (IUCN 2001), J. kuohii should be categorized as Critically Endangered (CR). Etymology: —The author dedicates this new Juncus species to Dr. Chang-Sheng Kuoh, the agrostologist and former vice-professor of Department of Life Sciences, National Cheng-Kung University. The specific epithet recognizes his keen interest and substantial contribution to the study of Taiwanese dicotyledonous and monocotyledonous families and his significant role in editing the Flora of Taiwan covering both the native and naturalized flora. Morphological comparison: — Juncus kuohii is similar in appearance to another Juncus species in section Ozophyllum native to northeastern Asia (Japan to Kamschatca Peninsula): J. fauriensis, comprising two subspecies. However, several diagnostic characters separating these three taxa (Table 1) were found after relevant vouchers and literature (Buchenau 1906, Kudo 1922, Kirschner 2002) were examined. Juncus kuohii is more similar to J. fauriensis subsp. kamschatcensis (Buchenau 1906: 159) Novikov (1990: 122) than to subsp. fauriensis, especially in floral characters (Table 1). Following the classification of Kirschner (2002), J. kuohii would be classified under subgenus Juncus section Ozophyllum. (Buchenau) Novikov, and J. kuohii M.-J. Jung. Additional specimens of Juncus kuohii examined (paratypes): — TAIWAN. Nantou Hsien: Jen-ai Hsiang, Military Skiing Training Center, 121° 17'01" E, 24° 08'33" N, 3210 m, 13 July 2000, C.- H . Lin 520 (HAST!), 121° 17'01" E, 24° 08'33" N, 3210 m, 3 September 2004, W.- C . Leong 3823 (HAST!), Taroko National Park, 121° 17'01" E, 24° 08'33" N, 3210 m, 24 July 2005, W.- C . Leong 3940 (HAST!). Specimens of J. bufonius examined: — PHILIPPINES. Luzon: Benguet, Atok, Paoay, 20 February 2006, R . Rubite 154 (HAST!). TAIWAN. Chia-Yi Hsien: Alishan Hsiang, Alishan Activative Center, 28 October 2000, W.- C . Leong 2104 (HAST!) Specimens of J. fauriensis subsp. fauriensis examined :— JAPAN. Tidesan, 30 August 1898, U . Faurie 1803 (E, isotype, photo). JAPAN. Aomori Pref.: Kamikita-gun, Towadako-machi, S. slope of a col W. of Sarukura-dake Peak, 140° 53'10" E, 40° 36'40" –50" N, 1330–1340 m, 24 August 2000, K . Yonekura 6139 (HAST!). Specimen of J. fauriensis subsp. kamschatcensis examined :— JAPAN. Aomori Pref.: Kamikita-gun, Towadako-machi, Takadayachi Moor, around Iizumi-numa Pond, 140° 53'10" E, 40° 37'40" –50" N, 1030–1040 m, 3 August 1999, K . Yonekura et al. 99898 (HAST!).Published as part of Jung, Ming-Jer, 2013, Juncus kuohii (Juncaceae), a new species from Taiwan, pp. 49-54 in Phytotaxa 81 (2) on pages 49-53, DOI: 10.11646/phytotaxa.81.2.2, http://zenodo.org/record/507156
- …
