Bollingen Series (General)

Modern American poets writing in the face of death In Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.

The Jewish philosopher Martin Buber spoke directly to the most profound human concerns in all his works, including his discussions of Hasidism, a mystical-religious movement founded in Eastern Europe by Israel ben Eliezer, called the Baal-Shem (the Master of God's Name). Living in the first part of the eighteenth century in Podolia and Wolhynia, the Baal-Shem braved scorn and rejection from the rabbinical establishment and attracted followers from among the common people, the poor, and the mystically inclined. Here Buber offers a sensitive and intuitive account of Hasidism, followed by twenty stories about the life of the Baal-Shem. This book is the earliest and one of the most delightful of Buber's seven volumes on Hasidism and can be read not only as a collection of myth but as a key to understanding the central theme of Buber's thought: the I-Thou, or dialogical, relationship. "All positive religion rests on an enormous simplification of the manifold and wildly engulfing forces that invade us: it is the subduing of the fullness of existence. All myth, in contrast, is the expression of the fullness of existence, its image, its sign; it drinks incessantly from the gushing fountains of life."--Martin Buber, from the introduction

Extracted from Volumes 10, 11, 13, and 18. Includes Commentary on The Secret of the Golden Flower, Psychological Commentary on The Tibetan Book of the Dead and The Tibetan Book of the Great Liberation, Foreword to Suzuki's Introduction to Zen Buddhism, and Foreword to the I Ching.

A brilliant brief account of romanticism and its influence from one of the most important philosophers and intellectual historians of the twentieth century In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven. The ideas and attitudes of these and other figures, Berlin argues, helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, self-fulfillment, and the exalted place of art. This new edition, illustrated for the first time, also features a new foreword by philosopher John Gray, in which he discusses Berlin's belief that the influence of romanticism has been unpredictable and contradictory in the extreme, fuelling anti-liberal political movements but also reinvigorating liberalism; a revised text; and a new appendix that includes some of Berlin's correspondence about the lectures and the reactions to them.

Continuing the paperback edition of Charles S. Singleton's translation of The Divine Comedy, this work provides the English-speaking reader with everything he needs to read and understand the Paradiso. This volume consists of the prose translation of Giorgio Petrocchi's Italian text (which faces the translation on each page); its companion volume of commentary is a masterpiece of erudition, offering a wide range of information on such subjects as Dante's vocabulary, his characters, and the historical sources of incidents in the poem. Professor Singleton provides a clear and profound analysis of the poem's basic allegory, and the illustrations, diagrams, and map clarify points that have previously confused readers of The Divine Comedy.

The bestselling English translation of the ancient classic of Chinese divination that has inspired millions with its timeless insights into the changing nature of all existence The I Ching, or Book of Changes, has exerted a living influence in China for thousands of years. Today, it continues to enrich the lives of readers around the world. First set down in the dawn of history as a book of oracles, it grew into a book of wisdom with the inclusion of commentaries on its oracular pronouncements, eventually becoming one of the Five Classics of Confucianism and providing a common source for both Confucianist and Taoist philosophy. This edition of the I Ching is the most authoritative and complete translation available, preserving the spirit of the ancient text while providing a vital key for anyone who seeks to live harmoniously with the immutable law of change. The book presents the sixty-four hexagrams of the I Ching along with their texts and interpretations in a format especially designed for easy reference. Unlike many editions of the I Ching, it also features the Ten Wings, supplemental writings traditionally ascribed to Confucius that provide indispensable insights into the symbolic structure of the hexagrams and their place in a cosmology where change is the only constant. With an illuminating foreword by C. G. Jung and an informative introduction by Richard Wilhelm, this beautiful edition of the I Ching shares the essence of wisdom and a true understanding of life.

"Kundalini yoga presented Jung with a model of something that was almost completely lacking in Western psychology--an account of the development phases of higher consciousness.... Jung's insistence on the psychogenic and symbolic significance of such states is even more timely now than then. As R. D. Laing stated... 'It was Jung who broke the ground here, but few followed him.'"--From the introduction by Sonu Shamdasani Jung's seminar on Kundalini yoga, presented to the Psychological Club in Zurich in 1932, has been widely regarded as a milestone in the psychological understanding of Eastern thought and of the symbolic transformations of inner experience. Kundalini yoga presented Jung with a model for the developmental phases of higher consciousness, and he interpreted its symbols in terms of the process of individuation. With sensitivity toward a new generation's interest in alternative religions and psychological exploration, Sonu Shamdasani has brought together the lectures and discussions from this seminar. In this volume, he re-creates for today's reader the fascination with which many intellectuals of prewar Europe regarded Eastern spirituality as they discovered more and more of its resources, from yoga to tantric texts. Reconstructing this seminar through new documentation, Shamdasani explains, in his introduction, why Jung thought that the comprehension of Eastern thought was essential if Western psychology was to develop. He goes on to orient today's audience toward an appreciation of some of the questions that stirred the minds of Jung and his seminar group: What is the relation between Eastern schools of liberation and Western psychotherapy? What connection is there between esoteric religious traditions and spontaneous individual experience? What light do the symbols of Kundalini yoga shed on conditions diagnosed as psychotic? Not only were these questions important to analysts in the 1930s but, as Shamdasani stresses, they continue to have psychological relevance for readers on the threshold of the twenty-first century. This volume also offers newly translated material from Jung's German language seminars, a seminar by the indologist Wilhelm Hauer presented in conjunction with that of Jung, illustrations of the cakras, and Sir John Woodroffe's classic translation of the tantric text, the Sat-cakra Nirupana. ?

From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 years What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns. Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority. From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

George Chapman's translations of Homer are among the most famous in the English language. Keats immortalized the work of the Renaissance dramatist and poet in the sonnet "On First Looking into Chapman's Homer." Swinburne praised the translations for their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." The great critic George Saintsbury (1845-1933) wrote: "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original text of Chapman's translation of the Odyssey (1614-15), making only a small number of modifications to punctuation and wording where they might confuse the modern reader. The editor, Allardyce Nicoll, provides an introduction, textual notes, a glossary, and a commentary. Garry Wills's preface to the Odyssey explores how Chapman's less strained meter lets him achieve more delicate poetic effects as compared to the Iliad. Wills also examines Chapman's "fine touch" in translating "the warm and human sense of comedy" in the Odyssey. Oft of one wide expanse had I been told That deep-browed Homer ruled as his demesne; Yet did I never breathe its pure serene Till I heard Chapman speak out loud and bold. --John Keats

The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can’t make sense of contemporary art A classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible. An insightful and entertaining exploration of art’s most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. After the End of Art addresses art history, pop art, “people’s art,” the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.

From the celebrated cultural historian and bestselling author, a provocative history of the evolution of our ideas about art since the early nineteenth century In this witty, provocative, and learned book, acclaimed cultural historian and writer Jacques Barzun traces our changing attitudes to the arts over the past 150 years, suggesting that we are living in a period of cultural liquidation, nothing less than the ending of the modern age that began with the Renaissance. He challenges our conceptions and misconceptions about art “in order to reach a conclusion about its value and its drawbacks for life at the present time.”

These two essays, written late in Jung's life, reflect his responses to the shattering experience of World War II and the dawn of mass society. Among his most influential works, "The Undiscovered Self" is a plea for his generation--and those to come--to continue the individual work of self-discovery and not abandon needed psychological reflection for the easy ephemera of mass culture. Only individual awareness of both the conscious and unconscious aspects of the human psyche, Jung tells us, will allow the great work of human culture to continue and thrive. Jung's reflections on self-knowledge and the exploration of the unconscious carry over into the second essay, "Symbols and the Interpretation of Dreams," completed shortly before his death in 1961. Describing dreams as communications from the unconscious, Jung explains how the symbols that occur in dreams compensate for repressed emotions and intuitions. This essay brings together Jung's fully evolved thoughts on the analysis of dreams and the healing of the rift between consciousness and the unconscious, ideas that are central to his system of psychology. This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

The renowned tale of Amor and Psyche, from Apuleius's second-century Latin novel The Golden Ass, is one of the most charming fragments of classical literature. Neumann chose it as the exemplar of an unusual study of feminine psychology. Unfolding the spiritual and mythical background of the pagan narrative, he shows how the contest between the mortal maid Psyche and the great goddess Aphrodite over the god Amor--Aphrodite's son, Psyche's husband--yields surprising and valuable insights into the psychic life of women.

Charles S. Singleton's edition of the Divine Comedy, of which this is the first part, provides the English-speaking reader with everything he needs to read and understand Dante’s great masterpiece. The Italian text here is in the edition of Giorgio Petrocchi, the leading Italian editor of Dante. Professor Singleton’s prose translation, facing the Italian in a line-for-line arrangement on each page, is smooth and literate. The companion volume, the Commentary, marshals every point of information the reader may require: vocabulary; grammar; identification of Dante’s characters; historical sources of some of the incidents and, where pertinent, excerpts from those sources in their original languages and in translation; profound clear analysis of the Divine Comedy’s basic allegory. There is a complete bibliography of every aspect of Dante studies. This first part of the Divine Comedy which is illustrated with maps of Italy and the region Dante knew especially, diagrams of the circles of Hell, and plates showing some of the historic sites mentioned by Dante in his poem.

George Chapman's translations of Homer are the most famous in the English language. Keats immortalized the work of the Renaissance dramatist and poet in the sonnet "On First Looking into Chapman's Homer." Swinburne praised the translations for their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." The great critic George Saintsbury (1845-1933) wrote: "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original (1611) text of Chapman's translation of the Iliad, making only a small number of modifications to punctuation and wording where they might confuse the modern reader. The editor, Allardyce Nicoll, provides an introduction and a glossary. Garry Wills contributes a preface, in which he explains how Chapman tapped into the poetic consonance between the semi-divine heroism of the Iliad's warriors and the cosmological symbols of Renaissance humanism.

For C. G. Jung, 1925 was a watershed year. He turned fifty, visited the Pueblo Indians of New Mexico and the tribesmen of East Africa, published his first book on the principles of analytical psychology meant for the lay public, and gave the first of his formal seminars in English. The seminar, conducted in weekly meetings during the spring and summer, began with a notably personal account of the development of his thinking from 1896 up to his break with Freud in 1912. It moved on to discussions of the basic tenets of analytical psychology--the collective unconscious, typology, the archetypes, and the anima/animus theory. In the elucidation of that theory, Jung analyzed in detail the symbolism in Rider Haggard's She and other novels. Besides these literary paradigms, he made use of case material, examples in the fine arts, and diagrams.

One of Jung's most influential ideas has been his view, presented here, that primordial images, or archetypes, dwell deep within the unconscious of every human being. The essays in this volume gather together Jung's most important statements on the archetypes, beginning with the introduction of the concept in "Archetypes and the Collective Unconscious." In separate essays, he elaborates and explores the archetypes of the Mother and the Trickster, considers the psychological meaning of the myths of Rebirth, and contrasts the idea of Spirits seen in dreams to those recounted in fairy tales. This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

A landmark work that demystifies the rich tradition of Indian art, Myths and Symbols in Indian Art and Civilization analyzes key motifs found in legend, myth, and folklore taken directly from the Sanskrit. It provides a comprehensive introduction to visual thinking and picture reading in Indian art and thought. Ultimately, the book shows that profound Hindu and Buddhist intuitions on the riddles of life and death are universally recognizable.

Jung was intrigued from early in his career with coincidences, especially those surprising juxtapositions that scientific rationality could not adequately explain. He discussed these ideas with Albert Einstein before World War I, but first used the term "synchronicity" in a 1930 lecture, in reference to the unusual psychological insights generated from consulting the I Ching. A long correspondence and friendship with the Nobel Prize-winning physicist Wolfgang Pauli stimulated a final, mature statement of Jung's thinking on synchronicity, originally published in 1952 and reproduced here. Together with a wealth of historical and contemporary material, this essay describes an astrological experiment Jung conducted to test his theory. Synchronicity reveals the full extent of Jung's research into a wide range of psychic phenomena. This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

Extracted from Volumes 4, 5, 7, 8, 9, 10, 13 and 14. Extracts are also taken from Dream Analysis, C. G. Jung: Letters (Volumes 1 and 2) and C. G. Jung Speaking. A collection of Jung's most important contributions to the depth psychological understanding of masculinity, not only the psychology of men but the essence of masculinity in both sexes.

Dream analysis is a distinctive and foundational part of analytical psychology, the school of psychology founded by C. G. Jung and his successors. This volume collects Jung's most insightful contributions to the study of dreams and their meaning. The essays in this volume, written by Jung between 1909 and 1945, reveal Jung's most essential views about dreaming--especially regarding the relationship between language and dream. Through these studies, Jung grew to understand that dreams are themselves a language, a language through which the soul communicates with the body. The essays included are "The Analysis of Dreams," "On the Significance of Number Dreams," "General Aspects of Dream Psychology," "On the Nature of Dreams," "The Practical Use of Dream Analysis," and "Individual Dream Symbolism in Relation to Alchemy" (complete with illustrations). New to this edition is a foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

In 1925, while transcribing and painting in his Red Book, C. G. Jung presented a series of seminars in English in which he spoke for the first time in public about his early spiritualistic experiences, his encounter with Freud, the genesis of his psychology, and the self-experimentation he called his "confrontation with the unconscious," describing in detail a number of pivotal dreams and fantasies. He then presented an introductory overview of his ideas about psychological typology and the archetypes of the collective unconscious, illustrated with case material and discussions concerning contemporary art. He focused particularly on the contra-sexual elements of the personality, the anima and the animus, which he discussed with the participants through psychological analyses of popular novels, such as Rider Haggard's She. The notes from these seminars form the only reliable published autobiographical account by Jung and the clearest and most important account of the development of his work. This revised edition features additional annotations, information from the Red Book, and an introduction by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

Extracted from Volume 8. Includes the title essay and "On Psychic Energy."

Written reputedly by an Egyptian magus, Horapollo Niliacus, in the fourth century C.E., The Hieroglyphics of Horapollo is an anthology of nearly two hundred "hieroglyphics," or allegorical emblems, said to have been used by the Pharaonic scribes in describing natural and moral aspects of the world. Translated into Greek in 1505, it informed much of Western iconography from the sixteenth through the nineteenth centuries. This work not only tells how various types of natural phenomena, emotions, virtues, philosophical concepts, and human character-types were symbolized, but also explains why, for example, the universe is represented by a serpent swallowing its tail, filial affection by a stork, education by the heavens dropping dew, and a horoscopist by a person eating an hourglass. In his introduction Boas explores the influence of The Hieroglyphics and the causes behind the rebirth of interest in symbolism in the sixteenth century. The illustrations to this edition were drawn by Albrecht Dürer on the verso pages of his copy of a Latin translation.

Extracted from Volumes 1, 8, and 18. Includes Jung's Foreword to Phenomènes Occultes (1939), "On the Psychology and Pathology of So-called Occult Phenomena," "The Psychological Foundations of Belief in Spirits," "The Soul and Death," "Psychology and Spiritualism," "On Spooks: Heresy or Truth?" and Foreword to Jaffé: Apparitions and Precognition.

"In the threatening situation of the world today, when people are beginning to see that everything is at stake, the projection-creating fantasy soars beyond the realm of earthly organizations and powers into the heavens, into interstellar space, where the rulers of human fate, the gods, once had their abode in the planets.... Even people who would never have thought that a religious problem could be a serious matter that concerned them personally are beginning to ask themselves fundamental questions. Under these circumstances it would not be at all surprising if those sections of the community who ask themselves nothing were visited by `visions,' by a widespread myth seriously believed in by some and rejected as absurd by others."--C. G. Jung, in Flying Saucers ? Jung's primary concern in Flying Saucers is not with the reality or unreality of UFOs but with their psychic aspect. Rather than speculate about their possible nature and extraterrestrial origin as alleged spacecraft, he asks what it may signify that these phenomena, whether real or imagined, are seen in such numbers just at a time when humankind is menaced as never before in history. The UFOs represent, in Jung's phrase, "a modern myth."

An authoritative bibliography of Jung’s works in German and English A record of all of Jung’ s publications in German and in English, this volume replaces the general bibliography published in 1979 as Volume 19 of the Collected Works of C. G. Jung. In the form of a checklist, this revised general bibliography records through 1990 the initial publication of each original work by Jung, each translation into English, and all significant new editions, including paperbacks and publications in periodicals. The contents of the volumes of the Collected Works of C. G. Jung and the Gesammelte Werke (published in Switzerland) are listed in parallel to show the relation between the two editions. Jung’s seminars are dealt with in detail and, where possible, information is provided about the origin of works that were first conceived as lectures. There are indexes of all publications, personal names, organizations and societies, and periodicals.

An authoritative collection of Jung’s writings on contemporary events, including The Undiscovered Self and Flying Saucers Civilization in Transition features Jung’s writings on contemporary events, especially the relation between the individual and society. In the earliest essay, “The Role of the Unconscious” (1918), Jung advanced the theory that World War I was a psychological crisis originating in the collective unconscious of individuals. In other essays included here, he pursued this theory in the 1920s and 1930s, focusing on the upheaval in Germany, and he gave it a much wider application in two major works of his last years, also featured here—Flying Saucers, which is about the birth of a myth that Jung regarded as a reaction to the scientific trends of a technological era, and The Undiscovered Self.

Considered one of Jung's most controversial works, Answer to Job also stands as Jung's most extensive commentary on a biblical text. Here, he confronts the story of the man who challenged God, the man who experienced hell on earth and still did not reject his faith. Job's journey parallels Jung's own experience--as reported in The Red Book: Liber Novus--of descending into the depths of his own unconscious, confronting and reconciling the rejected aspects of his soul. This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London. Described by Shamdasani as "the theology behind The Red Book," Answer to Job examines the symbolic role that theological concepts play in an individual's psychic life.

Mircea Eliade--one of the most renowned expositors of the psychology of religion, mythology, and magic--shows that myth and symbol constitute a mode of thought that not only came before that of discursive and logical reasoning, but is still an essential function of human consciousness. He describes and analyzes some of the most powerful and ubiquitous symbols that have ruled the mythological thinking of East and West in many times and at many levels of cultural development.