Although contemporaries, Carl Jung and Wilhelm Reich, two giants in the field of psychoanalysis, never met. What might have happened if they had is the inspiration behind this detailed investigation. Jung and Reich succinctly outlines each man's personality and compares their lives and their work, emphasizing points of convergence between them. John Conger provocatively puts Jung's mystical and psychological approach to spiritual disciplines on the same plane as Reich's controversial theories of "genitality" and character armor. The result is a heady "what if?" bound to intrigue and inspire readers.
The Body is very often the personification of this shadow of the ego. Sometimes it forms the skeleton in the cupboard, wrote Carl Jung, and everybody naturally wants to get rid of such a thing. Through the symbolism of illness and physical symptoms, our bodies reflect the darkness and the light the shadow holds for us until we are ready to accept it. It is the shadow-face of our souls that holds the light and the darkness until we are strong enough to face and heal what we have previously denied or rejected about ourselves. Our bodies and their ailments are not our enemies, and neither are our shadows. The shadow reveal the negative ego patterns we had previously rejected or denied, through the messages of our illnesses, so we can recognize, forgive, and heal them. The shadow is the ally of our true self and the enemy of our negative egos.
Robert Bly, renowned poet and author of the ground-breaking bestseller Iron John, mingles essay and verse to explore the Shadow -- the dark side of the human personality -- and the importance of confronting it.
The author offers exploration of self and practical guidance dealing with the dark side of personality based on Jung's concept of "shadow," or the forbidden and unacceptable feelings and behaviors each of us experience.
“An intimate and deeply human memoir that shows why we should all be concerned about nuclear safety, and the dangers of ignoring science in the name of national security.”—Rebecca Skloot, #1 New York Times bestselling author of The Immortal Life of Henrietta Lacks A shocking account of the government’s attempt to conceal the effects of the toxic waste released by a secret nuclear weapons plant in Colorado and a community’s vain search for justice—soon to be a feature documentary Kristen Iversen grew up in a small Colorado town close to Rocky Flats, a secret nuclear weapons plant once designated "the most contaminated site in America." Full Body Burden is the story of a childhood and adolescence in the shadow of the Cold War, in a landscape at once startlingly beautiful and--unknown to those who lived there--tainted with invisible yet deadly particles of plutonium. It's also a book about the destructive power of secrets--both family and government. Her father's hidden liquor bottles, the strange cancers in children in the neighborhood, the truth about what was made at Rocky Flats--best not to inquire too deeply into any of it. But as Iversen grew older, she began to ask questions and discovered some disturbing realities. Based on extensive interviews, FBI and EPA documents, and class-action testimony, this taut, beautifully written book is both captivating and unnerving.
A meticulously observed and macabre tale of hell on earth from the revolutionary German author of the famous play Marat/Sade Peter Weiss’s first prose work, The Shadow of the Coachman’s Body, was unanimously praised as an original and perfect work of art by critics when it appeared in 1960. Here, in poet Rosmarie Waldrop’s stunning translation, Weiss arranges a dark, vividly alive comedy of inert objects in a dismal boarding house—stones, buttons, hooks, needles, chairs, newspapers in an outhouse, clinking tin cups, celestial orbs, sewing machines, an overwound windup music box—which have oblique characters’ shadows as their supporting cast. Described by Weiss as a “micro-novel,” The Shadow of the Coachman’s Body can be obscene, trivial and brutal, and yet it is also peculiarly intimate and offers endless possibilities—like a telescope and kaleidoscope rolled into one.
Discusses the mythological properties assigned to geometric forms, and covers the Golden Section, gnomonic spirals, music, and the squaring of the circle.
Shadow and Substance is the first book to present a sustained examination of the relationship between Eucharistic controversy and English drama across the Reformation divide. In this compelling interdisciplinary study, Jay Zysk contends that the Eucharist is not just a devotional object or doctrinal crux, it also shapes a way of thinking about physical embodiment and textual interpretation in theological and dramatic contexts. Regardless of one’s specific religious identity, to speak of the Eucharist during that time was to speak of dynamic interactions between body and sign. In crossing periodic boundaries and revising familiar historical narratives, Shadow and Substance challenges the idea that the Protestant Reformation brings about a decisive shift from the flesh to the word, the theological to the poetic, and the sacred to the secular. The book also adds to studies of English drama and Reformation history by providing an account of how Eucharistic discourse informs understandings of semiotic representation in broader cultural domains. This bold study offers fresh, imaginative readings of theology, sermons, devotional books, and dramatic texts from a range of historical, literary, and religious perspectives. Each of the book’s chapters creates a dialogue between different strands of Eucharistic theology and different varieties of English drama. Spanning England’s long reformation, these plays—some religious in subject matter, others far more secular—reimagine semiotic struggles that stem from the controversies over Christ’s body at a time when these very concepts were undergoing significant rethinking in both religious and literary contexts. Shadow and Substance will have a wide appeal, especially to those interested in medieval and early modern drama and performance, literary theory, Reformation history, and literature and religion.
"The Body is very often the personification of this shadow of the ego. Sometimes it forms the skeleton in the cupboard," wrote Carl Jung, "and everybody naturally wants to get rid of such a thing." Through the symbolism of illness and physical symptoms, our bodies reflect the darkness and the light the shadow holds for us until we are ready to accept it. It is the shadow-face of our souls that holds the light and the darkness until we are strong enough to face and heal what we have previously denied or rejected about ourselves. Our bodies and their ailments are not our enemies, and neither are our shadows. The shadow reveal the negative ego patterns we had previously rejected or denied, through the messages of our illnesses, so we can recognize, forgive, and heal them. The shadow is the ally of our true self and the enemy of our negative egos.
What does it mean for Black women to organize in a political context that has generally ignored them or been unresponsive although Black women have shown themselves an important voting bloc? How for example, does #sayhername translate into a political agenda that manifests itself in specific policies? Shadow Bodies focuses on the positionality of the Black woman’s body, which serves as a springboard for helping us think through political and cultural representations. It does so by asking: How do discursive practices, both speech and silences, support and maintain hegemonic understandings of Black womanhood thereby rendering some Black women as shadow bodies, unseen and unremarked upon? Grounded in Black feminist thought, Julia S. Jordan-Zachery looks at the functioning of scripts ascribed to Black women’s bodies in the framing of HIV/AIDS, domestic abuse, and mental illness and how such functioning renders some bodies invisible in Black politics in general and Black women’s politics specifically.
