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By Paul Bishop

In this quantity, Paul Bishop investigates the level to which analytical psychology attracts on innovations present in German classical aesthetics. It goals to put analytical psychology within the German-speaking culture of Goethe and Schiller, with which Jung used to be good familiar.

Analytical Psychology and German Classical Aesthetics argues that analytical psychology appropriates lots of its relevant notions from German classical aesthetics, and that, whilst visible in its highbrow ancient context, the real originality of analytical psychology lies in its reformulation of key tenets of German classicism. even if the significance for Jung of German suggestion as a rule, and of Goethe and Schiller specifically, has usually been said, before it hasn't ever been tested in any specified or systematic method. via an research of Jung’s reception of Goethe and Schiller, Analytical Psychology and German Classical Aesthetics demonstrates the highbrow continuity inside of analytical psychology and the filiation of rules from German classical aesthetics to Jungian proposal. during this approach it means that a rereading of analytical psychology within the gentle of German classical aesthetics deals an intellectually coherent figuring out of analytical psychology.

By uncovering the philosophical assets of analytical psychology, this primary quantity returns Jung’s notion to its center highbrow culture, within the gentle of which analytical psychology earnings new serious influence and clean relevance for contemporary proposal. Written in a scholarly but available sort, this booklet will curiosity scholars and students alike within the components of analytical psychology, comparative literature, and the background of ideas.

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Additional info for Analytical Psychology and German Classical Aesthetics: Goethe, Schiller, and Jung, Volume 1: The Development of the Personality

Example text

As the text entitled ‘Poetic Thoughts on the Descent into Hell of Jesus Christ’ (Poetische Gedanken über die Höllenfahrt Jesu Christi) (1765), written when Goethe was 16, shows, some of his very early poetry was religious in inspiration. Indeed, in one of the most famous passages of Dichtung und Wahrheit, Goethe brings the first book to a close with an account of how, as a 7-year-old child, he built an altar to the God of Nature – ‘the God who is in direct contact with nature, who acknowledges and loves it as His work’ (GE 4, 44).

GE 4, 222) In fact, on Goethe’s account, ‘this gloomy scruple tormented me so much, and the explanations represented to me as adequate seemed so bleak and feeble, that the terrible image only acquired an increasingly fearful aspect’. In Leipzig, Goethe tried to distance himself from the Church; until, he adds, ‘at last I completely abandoned these qualms of conscience along with the church and the sacrament’ (GE 4, 222). In July 1768, just before he turned 19, Goethe suffered a heart complaint, aggravated by excess, from which he took over a year to recover.

Much eighteenth-century theological debate involved the distinction, going back to the Middle Ages, between ‘natural theology’, whose truths were accessible to discursive thought, and ‘revealed theology’, whose truths were not. In Dichtung und Wahrheit, Goethe introduced another distinction of his own between ‘natural, universal religion’ (natürliche, allgemeine Religion) and ‘particular, revealed religion’ (besondere, geoffenbarte Religion) (GE 4, 109 and 208). 64 Remaining sympathetic to Pietism, Goethe accepted the idea of a private and pragmatic religion.

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