Jung, Psychology, Postmodernity by Raya Jones

By Raya Jones

Jung, Psychology, Postmodernity explores issues of confluence and, extra frequently, contradictions among Jungian and postmodern rules.

Throughout the booklet Raya Jones examines how own which means emerges in human task. Jung addressed this by way of image formation, with specific consciousness to desires, myths, paintings and different myth productions. Postmodern psychologists are likely to tackle problems with which means by way of peoples self-understanding and identification building, with a spotlight on self-positioning in genuine dialog or on autobiographical narratives. Jones attracts a line of severe comparability among postmodern psychology and Jung’s descriptions of the symbolic measurement, fable, and the constitution of the psyche. The publication culminates with an overview of Jung’s psychic power inspiration, for which there's no direct counterpart in postmodern psychology. 

Jung, Psychology, Postmodernity is an unique critique of 2 key moments within the historical past of psychology. it is going to be welcomed through Jungians, in addition to psychotherapists, and scholars of psychology.

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The Oxford English Dictionary Online (retrieved March 2006) breaks down the etymology of the word `symbol' (from the Greek for: mark, token, ticket) into sym and bolos, to throw together. The idiom is reproduced when symbolic imagery is construed as something thrown together by the psyche in order to represent something else. In contradistinction, Victor Turner (1967: 19) de®ned symbol as `the smallest unit of ritual which still retains the speci®c properties of ritual behaviour'. Based on his work with the Ndembu people of Africa, he noted that their corresponding word is etymologically derived from a phrase referring to the practice of creating a trail through the forest by slashing the vegetation so as to mark the route back from the unknown bush to known paths.

Louise ®nally did what she wanted with those foil pieces. De®ning the symbolic dimension of creative acts may begin at this point, in what Bakhtin described as the act that somehow knows, somehow orients itself within being in its entirety. It would not suf®ce, however. All Louise did was to explore tactile and visual properties of her material environment. Her action was not symbolic play in the conventional sense of the term, because there was no make-believe. If an older Louise pretended to throw confetti in a wedding, her make-believe would not necessarily be symbolic as Jung de®nes it.

Put another way, the analyst's interpretation helped along a shift of consciousness in the child by amplifying a way of seeing himself. There is more to this example, however. The drawing as an act-oriented-to-being is called into being, not only in its concrete content, but in its content plus how it is perceived plus a set of ideas and associations supplied by a particular language ± in this case, the English language and the Jungian discourse. Another psychologist might interpret the production of the drawing as Symbolic and dialogic dimensions 29 regression to an earlier developmental stage.

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