visions seminars von jung (2 Ergebnisse)

Zustand: Good. Switzerland: Spring Publications 1976. 2 volume set. Presumed 1sts but not stated. Paperwraps 8vo 534 total pgs with color and b/w plates at rear of each vol. Good set. Light wear to covers. Bump to spine heel of vol 1. Some light foxing to plates. Contents clean and bindings sound. (Jungian Psychology) Inquire if you need further information.

Original document. Quarto (11 x 8 1/2"). Each with 1-3 preliminary leaves, 283, 275, 201, 163 (5), 249, 230, 133, 159, 178, 227, 190 leaves, 29 plates, (1) 36 leaves (index). All bound in original dark blue half cloth over marbled boards. Foreword to index volume by Carol Sawyer. The photostatic prints are pasted onto heavy paper, each numbered in ink by hand underneath the print, and loosely inserted into the folder. Volume 1 with handwritten dedication "Für Gerhard, August 31." Volumes 2-11 with "Gerhard Adler" inked to front free endpapers. This set is from the library of the important figure of Analytic Psychology, known for his translations of the "Collected Works" by Carl Jung into English. Set of thirteen volumes: eleven with multi graphed typescript copies from notes taken by the professional secretary Mary Foote during Carl Jung seminars held from 1930-1934. Seminars were also recorded by pupils of Carl Jung and edited by him. Volume twelve contains twenty-nine photographs of painting by Christiana Morgan, volume thirteen the index. These sets were issued in a very small number for the use of participants of the seminar only. The pupils were not authorized to lend them out, quote or publish any of the material without the explicit authorization of Dr. Jung. A small white paper label pasted to inside front covers of volumes 1-4 reading: "This report is strictly for the use of members of the Seminar, with the understanding that it is not to be circulated." The other volumes contain this information printed on the "Restricted Usage" page. The topic of these seminars was the analysis of dreams and artwork by the American artist Christiana Morgan, a patient of Carl Jung, and the ultimate "femme inspiratrice" or the manifestation of the perfect feminine, as Jung referred to her after their first meeting. Morgan was said to produce artwork in a semi-hypnotic state creating mythic visions. She was also a writer and lay psychoanalyst at Harvard known for co-authoring the Thematic Apperception Test, a widely used projective psychological test. Having received a few requests to lecture on Morgan's paintings a vote was taken on Jung's suggestion among the participants of the Vision Seminar to decide whether to continue with the regular series of dream interpretations or lectures about unconscious pictures by Morgan instead. The class voted for the "picture method." "I must explain to you that the lectures are about the development, one could say, of the transcendent function of dreams, and the actual representation of those images which ultimately serve in the synthesis of the individual, - the reconciliation of the pairs of opposites and the whole process of symbol formation (from Jung's opening address to the students in the seminar)." The seminars have to be seen in the context of Jung's work and research on what he had termed the "collective unconsciousness" in 1916, this being another attempt to gather conclusive evidence for what was to become his "Concept of the Collective Unconscious." The term "collective unconsciousness" first appeared in Jung's 1916 essay "The Structure of the Unconscious," distinguishing between the "personal" (Freudian) and the "collective" unconscious." (Jung collected works.) In 1929 in "The Significance of Constitution and Heredity in Psychology" Jung wrote: "And the essential thing, psychologically, is that in dreams, fantasies, and other exceptional states of mind the most far-fetched mythological motifs and symbols can appear autochthonously at any time, often, apparently, as the result of particular influences, traditions, and excitations working on the individual, but more often without any sign of them. These "primordial images" or "archetypes," as I have called them, belong to the basic stock of the unconscious psyche and cannot be explained as personal acquisitions. Together they make up that psychic stratum which has been called the collective unconscious." (Jung collected works.). And in 1936 he delivered to the Abernethian Society at St. Bartholomew's Hospital in London entitled "The Concept of the Collective Unconscious." Volumes I through XI contain explanatory in-text drawings, sketches and diagrams, volume VI a full page map of astronomical constellations. All lectures contain brief interactions with participants, identified as Mrs. Baynes, Mrs. Wickes, Mrs. Norris, Miss Sergeant, Mrs. Sigg, Mrs. Jaeger, Mrs. Crowley, Prof. Eaton, Dr. Schlegel, Dr. Baynes, etc. and verbatim descriptions of dreams of patients with subsequent attempts by Dr. Jung to interpret them. Vol. I: Contains lectures from October 15, 22, 29, November 5, 12, 19, 27, December 3, 8 and 9, 1930. Vol. II: Lectures from January 21, February 4, 11, 18, 25, March 3, 11, 18, 25, 1931. Vol. III: Lectures from May 6, 21, 27, June 3, 10, 24, 1931. At rear a lecture of June 15, 1931 on "Kundalin Yoga. Notes on the lecture" by Professor Hauer. Vol. IV: Lectures from November 11, 18 25, December 2, 9, 16, 1931. Includes four page index arranged by Carol Sawyer on Dreams - Autumn, 1930. Vol. V: Lectures from January 20, 27, February 3, 10, 17, 24, March 2, 9, 16, 1932. Vol. VI: Lectures from May 4, 11, 18, June 1, 8 (with full-page astronomical map), June 15, 22, 29, 1932. Vol. VII: Lectures from November 2, 16, 23, 30, December 7, 1932. Vol. VIII: Lectures from January 18, 25, February 1, 22, March 1, 8, 1933. Vol. IX: Lectures from March 3, 10, 17, 24, 31, June 7, 14, 21,1933. Vol. X: Lectures from October 4, 11, 18, 25, November 8, 15, 22, 29, December 6, 13, 1933. Vol. XI: Lectures from January 24, 41, February 7, 14, 21, 28, March 7, 14, 21, 1934 Vol. XII: Twenty-nine silver prints of paintings, three reproductions of classical paintings and twenty-six by Christiana Morgan in different sizes from 2 7/8 x 2 7/8" to 4 7/8 x 3 1/4" and one measuring 1 3/8 x 5 1/8" mounted to stiff gray paper plates. Morgan's paintings have dreamlike and symbolic content, reminiscent of expressionism, the last two of mand.