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In 1952, at the age of seventy-six, Carl Jung wrote Answer to Job in a single burst of energy and with strong emotion. He completed it while ill, following a high fever, and upon finishing, he felt well again. The book explores the nature of God, particularly what Jung perceived as God’s dark side, a theme that preoccupied him throughout his life. In it, the theology first explored in the Red Book—the progressive incarnation of God, and the replacement of the one-sided Christian God with one that encompasses evil within it—found its clearest expression. This makes Answer to Job one of Jung’s most controversial works. Jung wrote in a letter that the book, “released an avalanche of prejudice, misunderstanding, and above all, atrocious stupidity.”
The fundamental idea in Answer to Job is that the pair of opposites is united in the image of Yahweh. God is not divided but is an antinomy—a totality of inner opposites. This paradox is the essential condition for His omniscience and omnipotence. Love and Fear, though seemingly irreconcilable, coexist at the heart of the divine.
The story of Job follows a righteous man whose faith is tested by Satan with God’s permission. Job loses his wealth, children, health, and the support of his friends, who insist he must be guilty. His cries for justice go unheard, so that Satan’s cruel wager can proceed undisturbed. God allows the innocent to suffer. Still, Job is certain that somewhere within God, justice must exist. This paradox leads him to expect, within God, a helper or an “advocate” against God.
Jung flips the traditional understanding of Christ’s work of redemption: it is not an atonement for humanity’s sin against God, but a reparation for a wrong done by God to man.
“God has a terrible double aspect: a sea of grace is met by a seething lake of fire, and the light of love glows with a fierce dark heat of which it is said, “ardet non lucet”—it burns but gives no light. That is the eternal, as distinct from the temporal, gospel: one can love God but must fear him.”
When Jung was once asked how he could live with the knowledge he had recorded in Answer to Job, he replied, “I live in my deepest hell, and from there I cannot fall any further.”
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⌛ Timestamps
0:00 Introduction4:28 Religion as a Psychic Truth5:31 Job: The Oldest Book of the Bible 8:07 Union of Opposites in God9:54 Abraxas10:55 The Divine Drama: Yahweh and Job15:57 The Creature Surpasses The Creator16:54 Yahweh and Sophia18:09 Abel: Foreshadowing the God-Man 18:58 God Becomes Man21:13 Christ and the Hero’s Myth22:01 Answer to Job22:04 Christ as Archetype of the Self24:31 The Role of Satan27:14 The Role of the Holy Spirit (Paraclete)29:01 Conflict of Opposites and Redemption30:28 Privatio Boni and Summum Bonum31:06 Enantiodromia32:00 Visions and Mental Illness32:32 The Book of Ezekiel33:55 The Book of Enoch37:08 The Book of Revelation46:53 Assumption of Mary48:04 Union of Opposites and Individuation53:30 The Challenge Ahead
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Carl Jung published his book Psychological Types in 1921, introducing four functions of consciousness: thinking, feeling, sensation and intuition, and the two attitudes through which these four functions are deployed: introversion and extraversion.
Jung’s functions follow a fourfold structure, which is typical of the archetype of the Self. We are dealing with the archetype of the differentiation of consciousness, which helps you to become who you are meant to be. Jung combined function types and attitude types to describe, in turn, eight function-attitudes. These were the psychological types in Jung’s original description. However, very few of us, even among psychologists, can recognise the eight function-attitudes described by Jung.
Jungian psychologist John Beebe expands on Jung’s work on types, extending the fourfold model to an eightfold model of personality, as well as associating an archetype with each type. The first four archetypes are: the hero/heroine, the father/mother, the puer aeternus/puella aeterna, and the anima/animus. These are ego-syntonic, as they align harmoniously with the needs and goals of the ego. As for the other four function-attitudes, we enter the realm of the shadow, or the ego-dystonic personality, which includes: the opposing personality, the senex/witch, the trickster and the demonic/daimonic personality.
We may see these eight archetypes as different personalities within the vast theatre of the unconscious. They too have a role to play in our lives, seeking to express themselves outwardly. It is by integrating these archetypes of the collective unconscious that we truly become an individual. This process is at the heart of individuation. It is the journey of discovering your essence—who you were meant to be.
When an inner situation is not made conscious, it happens outside, as fate. If we do not gain control over the images within us, we run the risk of them gaining control over us.
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⌛ Timestamps
0:00 Introduction
4:55 Consciousness is the Human Being’s Flower
6:14 The Eight Function-Attitudes
7:08 Extraverted Thinking
9:03 Extraverted Feeling
10:36 Extraverted Sensation
12:11 Extraverted Intuition
13:37 Introverted Thinking
16:08 Introverted Feeling
18:37 Introverted Sensation
20:46 Introverted Intuition
22:35 The Most Difficult Types
23:26 A Dinner Party with the Types
25:00 Energies and Patterns in Psychological Type
27:16 The Eight-Function, Eight-Archetype Model
32:12 Hero/Heroine
33:20 Father/Mother
35:06 Puer Aeternus/Puella Aeterna
36:40 Anima/Animus
40:46 Opposing Personality
42:41 Senex/Witch
45:41 Trickster
47:11 Demonic/Daimonic Personality
49:32 Conclusion
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In her 1984 book, Goddesses in Everywoman: Powerful Archetypes in Women’s Lives, psychiatrist and Jungian analyst Jean Shinoda Bolen delves into seven feminine archetypes within woman’s psyche, based on the goddesses of ancient Greece, whose names and mythologies have endured for more than three thousand years. Myths are not mere fictitious stories or fantasies of the human mind, but perennially recurring patterns that describe fundamental concerns of the human condition.
What fulfils one woman may mean little to another, depending on which feminine archetype is constellated (or activated). Knowledge of the feminine archetypes provides women with vital information about their psychological difficulties, allowing them not just to understand themselves, but also their relationship with others. They also explain some of the difficulties and affinities women have with men. Knowledge of the “goddesses” provides useful information for men too. Men who want to understand women better can use feminine archetypes to learn that there are different types of women and what to expect from them.
When you recognise the forces influencing you, you move closer to fulfilling the age-old maxim, “know thyself.” If you can learn about your own patterns of being, you can save yourself from some suffering.
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⌛ Timestamps0:00 Introduction2:56 Goddesses in Everywoman4:08 The Seven Feminine Archetypes5:20 Identification and Integration of Archetypes6:06 The Virgin Goddesses: Artemis, Athena, Hestia7:20 Artemis: Goddess of the Hunt and Moon11:57 The Shadow of Artemis13:37 Athena: Goddess of Wisdom and Crafts17:38 The Shadow of Athena19:43 Hestia: Goddess of the Hearth23:31 The Shadow of Hestia24:49 The Vulnerable Goddesses26:15 Hera: Goddess of Marriage29:18 The Shadow of Hera32:11 Demeter: Goddess of Grain34:41 The Shadow of Demeter36:49 Persephone: Maiden and Queen of the Underworld38:14 The Shadow of Persephone41:55 The Transformative Goddess43:31 Aphrodite: Goddess of Love and Beauty45:10 The Shadow of Aphrodite47:10 Conclusion
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Confusion, wandering, isolation, darkness, disorientation—all evoke the labyrinth, a complex network of paths in which it is difficult to find one’s way out. Or do they? The labyrinth’s original meaning has been entirely distorted, which is only to be expected from such a perplexing symbol.
Today, the labyrinth is found everywhere: in architecture, art, books, movies, and games. The labyrinth is an archetype, a primordial image that dates back to the Bronze Age (around 2500 to 2000 BC), making it one of the oldest symbols. The archetypal image of the labyrinth fundamentally expresses the path of life, full of dark corners and unexpected turns. If we overcome them, we are transformed and enlightened – if not, we become disoriented and find life meaningless.
The labyrinth is an archetype, a primordial image that dates back to the Bronze Age (around 2500 to 2000 BC), making it one of the oldest symbols. It encompasses various images: the path of life, the Earth Mother, birth, dance, warding off evil, initiation, liminality, the descent into the underworld, symbolic death and rebirth, the journey to the Self, the alchemical Great Work and the pilgrim’s spiritual journey.
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⌛ Timestamps
(0:00) Introduction(1:55) The Labyrinth as The Path of Life(3:26) The Classical or Archetypal Labyrinth(4:19) Labyrinth of Egypt(5:03) The Labyrinth and The Maze(9:18) Anxiety is the Dizziness of Freedom(11:24) Time is a Labyrinth(12:25) The Labyrinth and The Minotaur(17:25) The Origins of The Mythical Labyrinth(19:52) Archetypal Symbolism of The Labyrinth(24:42) The Labyrinth: Descent into Hell(28:03) The Labyrinth and Alchemy(30:56) The Journey to The Centre (The Self)(32:34) From Earth to Heaven to Earth(34:16) The Medieval Labyrinth: Spiritual Journey(35:15) The Labyrinth as The Pilgrim’s Journey(39:25) Conclusion
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The Magician is the most mysterious and fascinating of all archetypes. He is a person who has gained access to esoteric or occult (hidden) knowledge, bringing the spiritual to the material. Thus, he is an initiate of secret and hidden knowledge of all kinds. As the Emerald Tablet teaches us, “As above, so below, and as below, so above, to accomplish the marvels of the One work.”
The Magician is often the mentor or guide to his people, and even to the king. Psychologically, the Magician is the archetype of transformation, transforming old realities into new ones. He is the archetype of self-realisation par excellence. The Magician aids us in our lifelong task of attaining a higher level of consciousness, and of recognising that higher power which is greater than ourselves.
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⌛ Timestamps
(0:00) Introduction(2:22) Merlin(5:10) Hermes Trismegistus(6:17) Magic: The Shadow of Religion(7:32) Sympathetic Magic(8:30) Magic in Ancient Times(10:53) Grimoires and King Solomon(12:10) Necronomicon(13:00) The Archetype of the Sorcerer’s Apprentice (15:10) Renaissance Magic(18:13) Low Magic and High Magic(18:34) White Magic and Black Magic(20:11) Archetypal Images of the Magician(23:45) The Archetype of the Miracle(25:12) Magician: The Archetype of Transformation(29:29) Mana Personality(30:20) The Shadow Magician(31:50) The Magician and The Trickster(33:36) The Magician in Tarot(35:30) The Magician in Jung’s Red Book(37:18) The Integration of the Magician Archetype
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The Wise Old Man or Sage is an archetype that is recognised by almost everyone, be it in stories, games, movies, or everyday life. In myth he is often shown as one living in isolation, meditating and living a simple life deep in a forest, in the mountains, or in other uninhabited places. The Wise Old Man is a lover of wisdom, and uses his experience to guide others. He is portrayed as a mysterious person or a wizard, in contact with nature and the numinous and unseen forces that permeate our existence.
The Wise Old man appears as a teacher of wisdom such as King Solomon from the Bible. In Hermeticism, he is Hermes Trismegistus, the fount of all wisdom and the teacher of the mystery of all ages. In China, the sage is Lao Tzu ("old man" or "old master"), the founder of Taoism, while in India there are the sadhus and yogis. In Arthurian Legend he is Merlin, in Nietzsche he appears as the prophet Zarathustra, and in Carl Jung as Philemon. In modern popular fiction we have Yoda, Gandalf and Dumbledore, among others.
In the individuation process (the lifelong journey towards psychic wholeness), the archetype of the Wise Old Man is late to emerge, and is therefore seen as an indication of the Self (the total personality).
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⌛ Timestamps(0:00) Introduction(1:35) The Symbolism of the Desert(3:30) The Hermit and The Wandering Ascetic (5:00) The Wise Old Man Archetype(12:32) Senex and Puer Aeternus(14:47) The Dark Side of The Wise Old Man(18:34) The Wise Old Man and The Hero(19:44) The Dangers of Identifying as The Sage(21:00) The Hermit in Tarot (24:35) The Hermit and The Madman Archetype(27:18) Facing Death in Old Age(28:08) The Forgotten Art of Solitude(32:48) The Sage’s Journey: The Search for Truth(35:20) The Eternal Inner Centre(37:24) The Book of Ecclesiastes: Meaninglessness(38:47) The Truth Shall Set You Free(39:50) Conclusion
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The Quest for the Holy Grail has fascinated the Western consciousness for a long time. It epitomises the true spirit of Western man and is, in many ways, the myth of Western civilisation. It is a perennial and timeless pattern that expresses fundamental concerns of the human condition.
The Holy Grail is a mysterious object guarded by a king in a hidden castle. It has been described as a cup, dish, or a magical stone that can provide healing powers, immortality, eternal youth, and unlimited nourishment. It represents the fulfilment of the highest spiritual potentialities in human consciousness, which endows the world with a symbolic and spiritual meaning. The quest for the Holy Grail is always more or less the same, it is the hero’s journey, at the end of which one obtains the “treasure hard to attain.” It is the search for that which makes life most meaningful.
Psychologically, the Holy Grail—like the philosophers' stone—is a symbol of the Self, the psychic totality and ultimate wholeness of the human being. The soul which represents the life principle, is that wondrous vessel which is the goal of the quest, whose final secret can never be revealed, but must ever remain hidden because its essence is a mystery.
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⌛ Timestamps(0:00) Introduction (2:44) Perceval and the Grail(9:35) The Continuations of the Grail Legend(10:35) The Grail and The Philosophers’ Stone(13:46) From Grail to Holy Grail(23:17) Holy Grail: The Spirit of Western Man(24:41) The Treasure Hard to Attain(26:10) The Eternally Alone(27:52) The Holy Grail as the Self(29:19) Balancing Light and Dark(33:12) Merlin: The Wise Old Man Archetype(36:53) ConclusionThank you for your support.
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Fairy tales fascinate us and give us a sense of warmth and home-coming that comes from the mythical realm of the imagination, a necessary complement to our everyday life. We are fundamentally story-telling creatures, and there is much we can learn by reflecting on the fairy tales heard in childhood. They seem almost magical because they connect us with emotions deeply buried within that cannot find expression in outer life, because as we grow up, the world of imagination is shunned by our peers, considered as unproductive and good for nothing.
Fairy tales can provide us with a sense that we are not alone in our life struggles. Humans have faced these struggles in one form or another since the beginning of time, and fairy tales represent this fundamental concern of the human condition.
Psychologically, fairy tales reflect our inner landscape, and the characters can represent aspects of our own personalities. Jungian analyst Marie-Louise von Franz writes: "Fairy tales are the purest and simplest expression of collective unconscious psychic processes. Therefore, their value for the scientific investigation of the unconscious exceeds that of all other material. They represent archetypes in their simplest, barest, and most concise form."
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⌛ Timestamps(0:00) Introduction(3:43) What are Fairy Tales?(8:15) The Origin of Fairy Tales(11:39) Faërie, Fairies and Eucatastrophe(13:00) Fairy Tales and Collective Unconscious(18:19) The Interpretation of Fairy Tales(21:31) Rituals and Archetypal Stories(22:15) The Most Ancient Form of Tale(23:16) Individuation in Fairy Tales(25:14) The Three Feathers(28:42) Interpretation: The Three Feathers(30:39) Rumpelstiltskin(34:05) The Frog King or Iron Henry(37:15) Beauty and The Beast(40:15) Hansel and Gretel(43:06) Sleeping Beauty or Briar Rose(46:42) Conclusion
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Nightmares. We all have them. But what exactly do they mean? Why do we have bad dreams? Is there any psychological meaning behind them? Nightmares are the source of much of the horror we see in stories, myths, movies and games. They are an encounter with the dark side of the unconscious, which often includes facing some of the most painful aspects of who we are. And one does not know what that part of oneself is, until one confronts it.
Nightmares are the most substantial and vitally important dreams, and are of therapeutic value. They wake us up with a cry, as if all our repressed content forms a bubble which expands until it bursts one night, and we experience a nightmare. They are the shock therapy nature uses on us when we are too unaware of some psychological danger, and shock us out of deep unconscious sleepiness about some dangerous situation. As if the unconscious says, “Look here, this problem is urgent!” The psyche tells us to “wake up” and face what we have neglected. The majority of nightmares represent opportunities for personal healing through much-needed emotional release.
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⌛ Timestamps(0:00) Introduction(3:00) Dream-Motifs in Nightmares(3:37) Lilith: The First Nightmare(5:07) The Origin & Folklore of Nightmares(9:09) Non-REM Sleep (Night Terrors)(10:36) REM Sleep (Nightmares)(11:43) Nightmare in Dostoevsky’s Crime and Punishment(15:40) Fever Dreams and Franz Kafka(17:36) Post-Traumatic Nightmares and Recurring Nightmares(19:00) Precognitive Nightmares(20:36) Carl Jung and The Meaning of Dreams(26:07) The Shadow and Nightmares(28:32) The Devouring Mother Archetype(30:39) Active Imagination(33:08) Lucid Dreaming(36:14) Nightmares and Artists(37:40) Nightmare Artists: Beksiński and Giger
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The wounded healer refers to the capacity to be at home in the darkness of suffering and there to find germs of light and recovery. It is the archetype at the bottom of all genuine healing procedures. As long as we feel victimised, bitter and resentful towards our wound, and seek to escape from suffering it, we remain inescapably bound to it. This is neurotic suffering, as opposed to the authentic suffering of the wounded healer which is purified. The wound can destroy you, or it can wake you up. As Carl Jung wrote, "The doctor is effective only when he himself is affected. Only the wounded physician heals."
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction: The Wounded Healer(1:39) Chiron: The Wounded Healer(4:03) Asclepius: The Greek God of Healing(6:13) Asclepieia: Healing Temples(11:12) The Importance of Death(15:06) The Wound as Initiation: Hero’s Journey (17:30) The Sacred and The Profane(19:59) The Wound as Initiation: Shamanism (21:49) Compensatory function(22:51) Repetition Compulsion(23:32) Pharmakon: Poison and Cure(24:26) Therapist as Wounded Healer(29:49) Conclusion
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Loneliness, emptiness, and anxiety – these are the main complaints American existential psychologist Rollo May encountered over and over from his patients. In 1953, May published Man’s Search for Himself, in which he explores these problems – that are perhaps more relevant than ever in our modern age.
When society can no longer give us a clear picture of our values and standards, of what we are and what we ought to be, we are then thrown back on the search for ourselves. This is one of the few blessings of living in an age of anxiety. To venture causes anxiety, but not to venture is to lose oneself. To venture in the highest sense is precisely to become conscious of oneself.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(0:47) Emptiness(4:46) Loneliness(8:17) Anxiety(13:22) Rediscovering Selfhood(24:08) Freedom (28:12) Courage(29:19) Death
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The term puer aeternus is Latin for eternal boy. Carl Jung used the term in the exploration of the psychology of eternal youth and creative child within every person.
It is an archetype, and like all archetypes, has both a positive and a negative side. It can bring the energy, beauty and creativity of childhood into adult life, or thwart self-realisation and doom us to both unrealistic adolescent fantasies and experiencing life as a prison.
The puer is the man-child who refuses to grow up, take responsibility, and face life’s challenges, he expects other people, typically his parents, to solve all his problems. He tries to go as high as possible away from reality, ending up like Peter Pan, the boy who wouldn’t grow up, who lives in Neverland, a place where people cease to age and are eternally young. The puer aeternus is also known as the Peter Pan syndrome. This has become an increasingly common problem in our modern age.
Those who find themselves unable to commit to work, to form satisfactory relationships, to commit to the discipline of education, to carry the weight of responsibility, or who feel that their life has become meaningless, will find the integration of the archetype of eternal youth invaluable in their life.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(2:36) Adult Struggle with the Paradise of Childhood(15:08) Senex and Puer(16:55) The Role of Play in Jung’s Life(19:24) The Puer Aeternus and The Little Prince(26:16) Integration of Puer Aeternus
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There is perhaps no figure in literature more fascinating than the trickster, appearing in various forms in the folklore of many cultures. Trickster is witty and deceitful. He is the timeless root of all the picaresque creations of world literature, and is not reducible to one single literary entity. Trickster tales have existed since ancient times, and has been said to be at the very foundation of civilisation and culture. They belong to the oldest expressions of mankind.
Tricksters are the breakers of rules, agents of mischief, masters of deceit, and boundary crossers. He is an agent of change, and is amoral, not immoral.
Trickster is at one and the same time creator and destroyer, giver and negator, he who dupes and who is always duped himself.
Psychologically, the trickster is an archetype, part of the collective unconscious. Trickster is everywhere, he is an eternal state of mind.
The integration of the trickster archetype allows us to go from being ruled by our own self-centred ego to a new way of living, in which one has integrity and relatedness. It allows us to become aware of our true emotions, behaviours, and thoughts, that our unconscious persona is hiding, and without which there is no individuation at all.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(0:45) What is The Trickster?(2:35) Primitive Form of The Trickster(3:48) Trickster and Laughter(5:50) Trickster as Agent of Change(7:35) Trickster as Creator and Destroyer(9:40) Trickster as Amoral(10:50) Trickster Figures(17:32) The Psychology of The Trickster(22:10) Trickster and Shadow(24:04) Trickster and Ego Inflation(26:15) The Trickster in Alchemy(29:08) Conclusion
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Franz Kafka's dark world deals with existentialist themes such as alienation, anxiety, disorientation and the absurd. His work is so original that the term Kafkaesque was coined to describe the nightmarish and bizarre atmosphere of his work. Throughout his works we see the strange dream-like mixture of perplexity and embarrassment play out, and the notion of a grand organisation with its incomprehensible bureaucratic system that hovers invisibly over each helpless individual, taking complete control over one's life.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(1:10) The Life of Kafka(9:20) The Metamorphosis (1915)(13:59) The Trial (1925)(23:07) The Castle (1926)24:29) Conclusion
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Alchemy occupies a unique place in the collective psyche of humankind. Swiss psychiatrist and psychologist Jung discovered alchemy and devoted the remaining 30 years of his life to studying it, which he practically dug up from the dunghill of the past, for it was considered pseudoscience, a forgotten relic of history and despised field of investigation which he had suddenly revived.
Alchemy allows one to achieve wholeness of personality, of aligning one’s ego to the Self through a reconnection with the unconscious. For Jung, the task of alchemy was and has always been psychological. The end product is not material in nature, but rather spiritual. Alchemy is the art of expanding consciousness, of self-realisation.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(6:33) The Self: Achieving Wholeness(13:45) The Origins and History of Alchemy(20:20) The Basics Concepts of Alchemy(28:54) Alchemy as Psychological Projection(32:07) The Importance of Symbols(35:50) The Operations of Alchemy(42:52) Stages of Alchemy: Nigredo, Albedo, Rubedo(50:03) Conclusion
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Projection is a psychological fact that can be observed everywhere in the everyday life of human beings. It is an unconscious mechanism where one ascribes one’s own motivations, thoughts, feelings, and desires that are unacceptable to oneself, while attributing them to others. It is a misalignment of the inner and outer world, because what one is inwardly, one will see outwardly.
To really know who we are, we must concern ourselves with correcting such misjudgements. Many people will cling to them with every fibre of their being, because if one accepts correction, one may fall into a depression.
When we find certain unacceptable feelings, thoughts or behaviours in ourselves that we refuse to acknowledge, and see someone with that specific trait, we will feel resentment, hatred and anger towards them. Projection occurs not because of what other people say to you, but rather because of what you yourself think about those people.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(2:15) Example of Projection(6:37) Freud: Mother Complex and Transference(8:06) Carl Jung on Projection(9:33) Jung: Shadow Projection(12:52) Jung: Anima and Animus Projection(16:18) Projection and Projectile(19:11) Active and passive projection(20:54) Introjection(21:42) Mystical participation(25:36) Psychological Projection as Inner Gold
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Synchronicity is a term coined by Carl Jung which describes a meaningful patterns or meaningful coincidences of outer and inner events that cannot be causally linked. It occurs with an inwardly perceived event (dream, vision, premonition, thought or mood) is seen to have a correspondence in external reality: the inner image has "come true", bringing meaning to your life.
When Jung was investigating the phenomena of the collective unconscious, he kept on coming across “coincidences” that were connected so meaningfully, that they broke all statistical probabilities. The culmination of his investigations is covered in his work: Synchronicity: An Acausal Connecting Principle.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(4:50) Origins of Synchronicity(8:38) What is Synchronicity?(10:09) Atom and Archetype: Matter and Psyche(11:43) Rhine: Extrasensory Perception Experiments(13:00) Archetypes, Collective Unconscious, Psychoid(15:54) Examples of Synchronicity(26:16) Synchronicity at Jung’s death
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Active imagination is a technique developed by the Swiss psychologist and psychiatrist Carl Jung. He considered it the most powerful tool to access the unconscious and for achieving wholeness of personality.
Jung discovered this method between the years of 1913 and 1916, a period of disorientation and intense inner turmoil which he called his confrontation with the unconscious. He searched for a method to heal himself from within, through the power of the imagination.
Active imagination is a dialogue with different parts of yourself that live in the unconscious. In some way it is similar to dreaming, except that you are fully awake and conscious during the experience.
If we honestly want to find our own wholeness, to live our individual fate as fully as possible; if we truly want to abolish illusion on principle and find the truth of our own being, however little we like to be the way we are, then there is nothing that can help us so much in our endeavour as active imagination.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(2:02) Confrontation with the Unconscious & The Red Book(4:46) Alchemy and Jung(5:39) Approaching Active Imagination(6:56) Precaution Before Starting Active Imagination(7:46) Inner Work: Active Imagination(9:21) Distinguishing Active Imagination from Passive Fantasy(9:51) Active Imagination Example: Talking with the Inner Artist(11:51) When You Think You’re Making Up Something(13:01) Active Imagination as Mythic Journey(14:10) The Four-Step Approach to Active Imagination(16:25) Step 1. Active Imagination: The Invitation(20:50) Step 2. Active Imagination: The Dialogue(25:00) Step 3. Active Imagination: The Values(27:25) Step 4. Active Imagination: The Rituals
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In his book Owning Your Own Shadow: The Dark Side of the Psyche, American author and Jungian analyst Robert A. Johnson states that to honour and accept one’s own shadow is a profound spiritual discipline. It is whole-making and thus holy and the most important experience of a lifetime.
In this podcast, we briefly clear up some misconceptions regarding the concept of shadow. It is not our enemy, but our friend. It contains pure gold waiting to be integrated into our personality.
It is not the light element alone that does the healing; the place where light and dark begin to touch is the most profound religious experience we can have in life. The religious task is to restore the wholeness of personality. Religion means to put things back together again, to connect whatever is fractured.
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━━━━━━━━━━━━━⌛ Timestamps(0:00) Introduction(3:12) Misconceptions of the Shadow(5:20) How the Shadow Originates(8:35) Balancing Culture and Shadow(12:39) The Shadow in Projection(15:04) The Gold in the Shadow(16:38) The Shadow in Middle Age(16:59) The Ceremonial World(17:46) Paradox as Religious Experience(21:54) The Shadow as Entree to Paradox(23:02) The Mandorla
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William Blake was an English poet and visionary artist whose unique work gives us a glimpse into an entirely different world. His art was ignored and neglected, and few people took his work seriously. He was generally seen as a madman.
His vivid imagination, visions and mystical experiences lead him to a spiritual task that was the exploration of his inner self. For Blake, the essence of human existence is imagination.
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⌛ Timestamps(0:00) The Life of William Blake(13:16) The Lyrical Poems of William Blake(15:48) Prophetic Books & Mythology (21:35) 1. The Ancient of Days (1794)(22:38) 2. Albion Rose (1794 – 1796)(23:37) 3. Isaac Newton (1795 – 1805)(24:23) 4. Nebuchadnezzar (1795 – 1805)(25:39) 5. The Night of Enitharmon's Joy (1795)(26:31) 6. Satan Exulting over Eve (1795) (27:00) 7. The Good and Evil Angels (1795 – 1805)(28:13) 8. The Angel of Revelation (1803 – 1805)(28:36) 9. Los Enters the Door of Death (1804-1820)(29:35) 10. The Great Red Dragon Paintings (1805 – 1810)(31:20) 11. The Man Who Taught Blake Painting in his Dreams (1819 – 1820)(31:44) 12. The Ghost of a Flea (1819 – 1820)(32:58) 13. Elisha In The Chamber On The Wall (1820)(33:30) 14. The Spectre over Los (1821)(34:38) 15. The Inscription over the Gate (1824 - 1827)(36:18) 16. Behemoth and Leviathan (1825)(36:41) How Blake's Art Can Help Us
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