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Analyst and author Ann Belford Ulanov draws on her years of clinical work and reflection to make the point that madness and creativity share a kinship, an insight that shakes both analysand and analyst to the core, reminding us as it does that the suffering places of the human psyche are inextricably—and, often inexplicably—related to the fountains of creativity, service, and even genius. She poses disturbing questions: How do we depend on order, when chaos is a necessary part of existence? What are we to make of evil—both that surrounding us and that within us? Is there a myth of meaning that can contain all the differences that threaten to shatter us? Ulanov’s insights unfold in conversation with themes in Jung’s Red Book which, according to Jung, present the most important experiences of his life, themes he explicated in his subsequent theories. In words and paintings Jung displays his psychic encounters from1913–1928, describing them as inner images that “burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me.” Responding to some of Jung’s more fantastic encounters as he illustrated them, Ulanov suggests that our problems and compulsions may show us the path our creativity should take. With Jung she asserts that the multiplicities within and around us are, paradoxically, pieces of a greater whole that can provide healing and unity as, in her words, “every part of us and of our world gets a seat at the table.” Taken from Ulanov’s addresses at the 2012 Fay Lectures in Analytical Psychology, Madness and Creativity stands as a carefully crafted presentation, with many clinical examples of human courage and fulfillment.
Analyst and author Ann Belford Ulanov draws on her years of clinical work and reflection to make the point that madness and creativity share a kinship, an insight that shakes both analysand and analyst to the core, reminding us as it does that the suffering places of the human psyche are inextricably—and, often inexplicably—related to the fountains of creativity, service, and even genius. She poses disturbing questions: How do we depend on order, when chaos is a necessary part of existence? What are we to make of evil—both that surrounding us and that within us? Is there a myth of meaning that can contain all the differences that threaten to shatter us? Ulanov’s insights unfold in conversation with themes in Jung’s Red Book which, according to Jung, present the most important experiences of his life, themes he explicated in his subsequent theories. In words and paintings Jung displays his psychic encounters from1913–1928, describing them as inner images that “burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me.” Responding to some of Jung’s more fantastic encounters as he illustrated them, Ulanov suggests that our problems and compulsions may show us the path our creativity should take. With Jung she asserts that the multiplicities within and around us are, paradoxically, pieces of a greater whole that can provide healing and unity as, in her words, “every part of us and of our world gets a seat at the table.” Taken from Ulanov’s addresses at the 2012 Fay Lectures in Analytical Psychology, Madness and Creativity stands as a carefully crafted presentation, with many clinical examples of human courage and fulfillment.
Also available in an open-access, full-text edition at http://oaktrust.library.tamu.edu/handle/1969.1/85764 "What we wish to know, and most desire, remains unknowable and lies beyond our grasp." With these words, James Hollis leads readers to consider the nature of our human need for meaning in life and for connection to a world less limiting than our own. In The Archetypal Imagination, Hollis offers a lyrical Jungian appreciation of the archetypal imagination. He argues that without the human mind's ability to form energy-filled images that link us to worlds beyond our rational and emotional capacities, we would have neither culture nor spirituality. Drawing upon the work of poets and philosophers, Hollis shows the importance of depth experience, meaning, and connection to an "other" world. Just as humans have instincts for biological survival and social interaction, we have instincts for spiritual connection as well. Just as our physical and social needs seek satisfaction, so the spiritual instincts of the human animal are expressed in images we form to evoke an emotional or spiritual response, as in our dreams, myths, and religious traditions. The author draws upon the work of the poet Rainer Maria Rilke's Duino Elegies to elucidate the archetypal imagination in literary forms. To underscore the importance of incarnating depth experience, he also examines a series of paintings by Nancy Witt. With the power of the archetypal imagination available to all of us, we are invited to summon courage to take on the world anew, to relinquish outmoded identities and defenses, and to risk a radical re-imagining of the larger possibilities of the world and of the self.
Seated in her nest of ashes, Cinderella embodies human misery. The essence of inner and outer nobility, she is the envy of her cruel stepmother and her ugly sisters. Using this familiar story, Ann and Barry Ulanov explore the psychological and theological aspects of envy and goodness. In their interpretation of the tale, they move back and forth between internal and external issues -- from how feminine and masculine parts of persons fit or do not fit together to how individuals conduct their lives with those of the same and opposite sexes, how they conflict, compete, or join harmoniously. After considering this rarely discussed human emotion, the authors focus on the nature of goodness as it surfaces in the envy experience. They reflect on its abundance, ability to unite disparate parts, its abiding presence, and its joy, then conclude with a glossary of terms and a brief review of the psychological literature on envy.
Growing up, we typically spend more time with our brothers and sisters than we do with our parents. In an age of divorce, mobility, and alienation, the sibling bond is often the only one that really lasts. Given that brothers and sisters are such a fundamental aspect of human existence, it is remarkable that they have received so little in-depth attention in the field of psychology. Henry Abramovitch’s Brothers and Sisters explores the tension between the myth and reality of brothers and sisters in a variety of cultures and through the poignant brother-sister stories in the Bible. Abramovitch looks at the developmental sequence in the sibling relationship as brothers or sisters struggle to find their place with each other, concluding with a very personal account of his own relationship with his brother and sister.
The beginnings of art are lost in the dim reaches of prehistory, eons before humans began recording and codifying their experiences in writing. And yet philosophers, artists, and historians have for centuries noted the intimate and perhaps inseparable relationship between human consciousness and the artistic impulse. As analyst and professor Christian Gaillard notes, we can see some of the earliest expressions of this intimacy in the cave paintings at Lascaux, and the relationship continues to the present day in the works of modern creators such as Jackson Pollock and Anselm Kiefer. What fascinates Gaillard—and, indeed, what fascinated Carl Jung—is, among other things, the notion that art enables us to explore our inner landscapes in ways that are impossible by any other means. In The Soul of Art: Analysis and Creation, Gaillard takes readers on a tour of his own “gallery of the mind,” examining works of art from throughout history—and prehistory—that have moved, challenged, and changed him. He also explores instances where particular works of art have proven deeply significant in his or his colleagues’ understanding of their analyses and their ability to serve as capable guides on the journey toward self-awareness.
With a particularly strong emphasis on Jung's theories of archetypes, Dr. Ulanov's examination of her own experience with affliction is an example of psychology in practice. She details the terribly severe attacks of poison ivy that besiege her annually her personal point of view in applying the symbolism of Jung's archetypes to these attacks is refreshing in its individualization of the analysis. As a modern excursion into the territory handled by animistic cultures where priests make mandalas in the sand and ritual dancers dance away the spirits of illness, Ann Ulanov examines her own illness in the light of modern psychology. These sorts of rituals have been performed for many hundreds, perhaps thousands, of years, and still resonate today. Dr. Ulanov discusses the physical, psychological, psychosomatic, psychosocial, and psycho-spiritual aspects of asking to be healed.

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