By Matthew A. Fike
Making use of the analytical psychology of Carl Jung, Matthew A. Fike offers a clean figuring out of individuation in Shakespeare. This research of “the visionary mode”— Jung’s time period for literature that comes throughout the artist from the collective unconscious—combines a robust grounding in Jungian terminology and concept with fable feedback, biblical literary feedback, and postcolonial concept. Fike attracts largely at the wealthy discussions within the amassed Works of C. G. Jung to light up chosen performs resembling A Midsummer Night’s Dream, The service provider of Venice, The Henriad, Othello, and Hamlet in new and miraculous methods. Fike’s transparent and thorough method of Shakespeare deals interesting, unique scholarship that might attract scholars and students alike.
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Applying the analytical psychology of Carl Jung, Matthew A. Fike offers a clean figuring out of individuation in Shakespeare. This examine of “the visionary mode”— Jung’s time period for literature that comes throughout the artist from the collective unconscious—combines a robust grounding in Jungian terminology and idea with fable feedback, biblical literary feedback, and postcolonial concept.
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Additional info for A Jungian Study of Shakespeare: The Visionary Mode
Neither Bottom’s highly vivid imagination nor his social and educational background fully accounts for his confusion. Insofar as he is not a madman, his Pauline language strongly suggests that his vision is spiritual in some way that transcends the archetypal; therefore, his synesthesia may relate not only to the archetypes’ nonverbal, imagistic nature but also to the spirit world, which is ineffable even for a man of words like Paul. 1057/9780230618558 - A Jungian Study of Shakespeare, Matthew A.
This aspect deserves the epithet “spiritual” above all else. It not infrequently happens that the archetype appears in the form of a spirit in dreams or fantasy-products, or even comports like a ghost” (CW 8, 405/205). Elsewhere Jung states, “It is certainly much more difficult to believe that a visionary experience can be real,” and “what appears in the vision is the imagery of the collective unconscious” (CW 15, 147/93, 152/97). A connection to the archetypes may also account, in part, for the visionary experiences of Paul, whose language Bottom borrows.
The secondary [imagination] I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create; or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. FANCY, on the contrary, has no other counters to play with, but fixities and definites.