Bollingen Series (General)

An authoritative edition of Jung’s shorter works on the psychology of religious phenomena

This volume collects Jung’s shorter writings on religion and psychology, including several that are of major importance.

The pieces on Western religion are Psychology and Religion • A Psychological Approach to the Dogma of the Trinity • Transformation Symbolism in the Mass • Forewords to White’s God and the Unconscious and Werblowsky’s Lucifer and Prometheus • Brother Klaus • Psychotherapists or the Clergy • Psychoanalysis and the Cure of Souls • Answer to Job

The pieces on Eastern religion are Psychological Commentaries on The Tibetan Book of the Great Liberation and The Tibetan Book of the Dead • Yoga and the West • Foreword to Suzuki’s Introduction to Zen Buddhism • The Psychology of Eastern Meditation • The Holy Men of India • Foreword to the I Ching

The authoritative edition of early psychiatric studies by Jung, which foreshadow much of his later work

Psychiatric Studies gathers writings on descriptive and experimental psychiatry that Jung published between 1902 and 1905, early in his career as a psychiatrist. The book opens with a study that foreshadows much of his later work and is indispensable to all serious students of his psychiatric career. This is his medical-degree dissertation, “On the Psychology and Pathology of So-called Occult Phenomena,” a detailed analysis of the case of an adolescent girl who professed to be a medium. This volume also includes papers on cryptomnesia, hysterical parapraxes in reading, manic mood disorder, simulated insanity, and other subjects.

The detailed general index to the authoritative English-language edition of Jung’s works

This general index to the Collected Works of C. G. Jung is exceptionally comprehensive, indexing down to paragraph numbers. Some particularly important subjects are treated in subindexes, including alchemy, animals, the Bible, colors, Freud, Jung, and numbers. This is an essential reference tool for serious students of Jung.

The authoritative edition of Jung’s essential writings for understanding his early enthusiasm for—and later split with—Freud and psychoanalysis

Freud and Psychoanalysis gathers Jung’s writings on Freud and psychoanalysis published between 1906 and 1916, along with two later, related papers. The book covers the period of the enthusiastic collaboration between the two pioneers of psychology through the years when Jung’s growing appreciation of religious experience, his criticism of Freud’s emphasis on pathology, and other differences led to Jung’s formal break with his mentor. Part I features brief studies of Freud’s theory of hysteria, dream analysis, the psychology of rumor, and other subjects. Parts II and III contain the essentials of the criticism that led to Jung’s rupture with Freud, the most important of which is “The Theory of Psychoanalysis.” Part IV presents “The Significance of the Father in the Destiny of the Individual.” The book’s final two pieces, “Freud and Jung: Contrasts” and the introduction to a book by W. M. Kranefeldt, further illuminate Jung’s reassessment of psychoanalysis.

The authoritative edition of Jung’s miscellaneous collected writings

The Symbolic Life gathers some 160 of Jung’s writings that span sixty years and reflect his inquiring mind, numerous interests, and wide circle of professional and personal acquaintance. These writings include three longer works, “The Symbolic Life,” “Symbols and the Interpretation of Dreams,” and “The Tavistock Lectures”; a number of previously overlooked reviews, reports, and articles from the early years of Jung’s career; several finished or virtually finished manuscripts that weren’t published in his lifetime, including a 1901 report on Freud’s On Dreams; and works Jung wrote after retiring from active medical practice. The other pieces collected here include forewords to books by colleagues and pupils, replies to journalists’ questions, encyclopedia articles, and letters on technical subjects.

The authoritative edition of Jung’s important early writings on his word-association experiments

After joining the staff of the Burghölzli Mental Hospital in 1900, Jung developed and applied word-association tests for studying normal and abnormal psychology. Between 1904 and 1907, he published nine studies on these experiments. Experimental Researches features these studies, as well as two lectures on the association method that Jung gave in 1909 when he and Freud were invited to Clark University in Worcester, Massachusetts, and three articles on psychophysical researches. Jung’s word-association studies are a significant phase in the development of his thought and an important contribution to diagnostic psychology and psychiatry.

An authoritative collection of Jung’s writings on analytical psychology, including Synchronicity

The Structure and Dynamics of the Psyche features a selection of Jung’s writings, ranging over four decades of his career, which illustrate the development of the conceptual foundations of analytical psychology. These pieces span the period from Jung’s break with Freud and the psychoanalytical school, when Jung began formulating his own theories, to the 1950s, when he published an account of his controversial theory of synchronicity.

The contents are: On Psychic Energy • The Transcendent Function • A Review of the Complex Theory • The Significance of Constitution and Heredity in Psychology • Psychological Factors Determining Human Behavior • Instinct and the Unconscious • The Structure of the Psyche • On the Nature of the Psyche • General Aspects of Dream Psychology • On the Nature of Dreams • The Psychological Foundation of Belief in Spirits • Spirit and Life • Basic Postulates of Analytical Psychology • Analytical Psychology and Weltanschauung • The Real and the Surreal • The Stages of Life • The Soul and Death • Synchronicity: An Acausal Connecting Principle • On Synchronicity

An authoritative collection of Jung’s writings on contemporary events, including The Undiscovered Self and Flying Saucers

Civilization in Transition features Jung’s writings on contemporary events, especially the relation between the individual and society. In the earliest essay, “The Role of the Unconscious” (1918), Jung advanced the theory that World War I was a psychological crisis originating in the collective unconscious of individuals. In other essays included here, he pursued this theory in the 1920s and 1930s, focusing on the upheaval in Germany, and he gave it a much wider application in two major works of his last years, also featured here—Flying Saucers, which is about the birth of a myth that Jung regarded as a reaction to the scientific trends of a technological era, and The Undiscovered Self.

An authoritative bibliography of Jung’s works in German and English

A record of all of Jung’ s publications in German and in English, this volume replaces the general bibliography published in 1979 as Volume 19 of the Collected Works of C. G. Jung. In the form of a checklist, this revised general bibliography records through 1990 the initial publication of each original work by Jung, each translation into English, and all significant new editions, including paperbacks and publications in periodicals. The contents of the volumes of the Collected Works of C. G. Jung and the Gesammelte Werke (published in Switzerland) are listed in parallel to show the relation between the two editions. Jung’s seminars are dealt with in detail and, where possible, information is provided about the origin of works that were first conceived as lectures. There are indexes of all publications, personal names, organizations and societies, and periodicals.

These essays by the famous analytical psychologist and student of creativity Erich Neumann belong in the context of the depth psychology of culture and reveal a prescient concern about the one-sidedness of patriarchal Western civilization. Neumann recommended a "cultural therapy" that he thought would redress a "fundamental ignorance" about feminine and masculine psychology, and he looked for societal healing to a "matriarchal consciousness" that forms the bridge between the feminine and the creative.


Brought together here for the first time, the essays in the book discuss the psychological stages of woman's development, the moon and matriarchal consciousness, Mozart's Magic Flute, the meaning of the earth archetype for modern times, and the fear of the feminine. In Mozart's fantastic world, Neumann saw a true Auseinandersetzung--the conflict and coming-to-terms with each other of the matriarchal and the patriarchal worlds. Developing such a synthesis of the feminine and the masculine in the psychic reality of the individual and of the collective was, he argued, one of the fundamental, future-oriented tasks of both the society and the individual.

Four essays on the psychological aspects of art. A study of Leonardo treats the work of art, and art itself, not as ends in themselves, but rather as instruments of the artist's inner situation. Two other essays discuss the relation of art to its epoch and specifically the relation of modern art to our own time. An essay on Chagall views this artist in the context of the problems explored in the other studies.

A vivid historical imagining of life in the early United States

“One of the richest books ever to come my way.”—Annie Proulx, Pulitzer Prize–winning author of The Shipping News

“This is a wonderful book. . . . An extraordinary achievement.”—Edmund de Waal, New York Times bestselling author of The Hare with Amber Eyes

Set amid the glimmering lakes and disappearing forests of the early United States, The Forest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuring both real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisans living and working in a world still made largely of wood. Some of the historical characters—such as Thomas Cole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are well known, while others are not. But all are creators of private and grand designs.

The Forest unfolds in brief stories. Each episode reveals an intricate lost world. Characters cross paths or go their own ways, each striving for something different but together forming a pattern of life. For Alexander Nemerov, the forest is a description of American society, the dense and discontinuous woods of nation, the foliating thoughts of different people, each with their separate shade and sun. Through vivid descriptions of the people, sights, smells, and sounds of Jacksonian America, illustrated with paintings, prints, and photographs, The Forest brings American history to life on a human scale.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

A leading art historian presents a new grammar for understanding the meaning and significance of print

In process and technique, printmaking is an art of physical contact. From woodcut and engraving to lithography and screenprinting, every print is the record of a contact event: the transfer of an image between surfaces, under pressure, followed by release. Contact reveals how the physical properties of print have their own poetics and politics and provides a new framework for understanding the intelligence and continuing relevance of printmaking today.

The seemingly simple physics of printmaking brings with it an array of metamorphoses that give expression to many of the social and conceptual concerns at the heart of modern and contemporary art. Exploring transformations such as reversal, separation, and interference, Jennifer Roberts explores these dynamics in the work of Christiane Baumgartner, David Hammons, Edgar Heap of Birds, Jasper Johns, Corita Kent, Glenn Ligon, Julie Mehretu, Robert Rauschenberg, and many other leading artists who work at the edge of the medium and beyond.

Focusing on the material and spatial transformations of the printmaking process rather than its reproducibility, this beautifully illustrated book explores the connections between print, painting, and sculpture, but also between the fine arts, industrial arts, decorative arts, and domestic arts. Throughout, Roberts asks what artists are learning from print, and what we, in turn, can learn from them.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington

Between the years 1906 and 1912, Jung practiced as a psychoanalyst, and his association with Freud was very close. Though their personal relationship became strained after the publication of Jung's book, Wandlungen und Symbole der Libido (1911-12), Jung continued to serve as president of the International Psychoanalytic Association until 1914. The present volume covers the period of Jung's close and enthusiastic collaboration with Freud and includes one of Jung's famous studies in word association which demonstrates Freud's influence even before they were working together.

Originally published in 1975.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Contents:

• Mandalas.
• I. A Study in the Process of Individuation.
• II. Concerning Mandala Symbolism
• Index

Originally published in 1972.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This volume makes available to the modern reader selected writings of Thomas Taylor, the eighteenth-century English Platonist. TO Taylor we are indebted for the first full translation into English of Plato and Aristotle. Platonism, as Taylor saw it, was an informing principle, transmitted through a "golden chain of philosophers," a doctrine received by Socrates and Plato from the Orphic and Pythagorean past and transmitted to the future. It emerged again and again, enriched in the School of Alexandria, in Renaissance art, in the works of Spenser, Shelley, Yeats. Kathleen Raine is well known as a poet. GEorge Mills Harper is Professor of English, University of Florida. Bollingen Series LXXXVIII.

Originally published in 1969.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Contents include:

The Style of the Mythical Age: An Introduction by Hermann Broch

ON THE ILIAD
Hector
Thetis and Achilles
Helen
The Comedy of the Gods
Troy and Moscow
Priam and Achilles Break Bread
Poets and Prophets

Originally published in 1947.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Extracted from The Development of the Personality, Vol. 17, Collected Works, Jung's early study "Psychic Conflicts in a Child’’ (1910) with later papers on child development and education including “The Gifted Child" (1946).

Originally published in 1969.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Volume 1 of 2. Coleridge's Shorter Works and Fragments brings together a number of substantial essays that were not long enough to require volumes to themselves, among them his "Theory of Life," "Essays on the Principles of Genial Criticism," "Treatise on Method," "Confessions of an Inquiring Spirit," "On the Passions," and "On the Prometheus of Aeschylus." To these are added more than four hundred other pieces, some of them fragementary, many of them previously unpublished, ranging in date from school essays of the early 1790s to a discussion of the bullion controversy in 1834. As might be expected, the subject matter includes literature and language, theology, philosophy, politics, and science, but in many less predictable topics (such as child labor laws, marriage, suicide, church history, the abolition of slavery, the state of the colonies) also appear. By gathering this material and presenting it in chronological order, Shorter Works and Fragments reveals the development and major characteristics of Coleridge's seemingly inexhaustible variety.
H.J. Jackson and J.R. de J. Jackson, Professors of English at the University of Toronto, are the editors of Coleridge's Marginalia and Logic, respectively, in the Collected Works of Samuel Taylor Coleridge.
Bollingen Series LXXV

Originally published in 1995.

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Coleridge's Aids to Reflection was written at a time when new movements in thought were starting to unsettle belief. It was read with admiration by early Victorians such as John Sterling, F. D. Maurice, and Thomas Arnold, contributing to the formation of the Broad Church Movement, and with respect by members of the High Church Movement, including John Henry Newman. Coleridge had intended simply to produce a selection from the writings of the seventeenth-century Archbishop Robert Leighton with comments of his own, but as he worked at the book he found the commentary expanding to take in the fruits of his religious thinking over the years, so that the second, and more important, part of the volume was totally dominated by his thought. In this, the first major edition of Aids to Reflection, the intricate story of Coleridge's changing conception is unfolded by way of an introduction and detailed notes, the surviving materials for the volume being printed in appendixes. The introduction also traces the subsequent influence of the work in England and America; further appendixes include James Marsh's influential preface to the first American edition, which is reproduced in full.

Originally published in 1993.

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Volume 1 of 2. Coleridge's nephew, son-in-law, and first editor, Henry Nelson Coleridge, began at the end of 1822 a record of Coleridge's remarks as a way of preparing an anthology of the interests and thought of the great poet and critic. His manuscripts, gathered to form the major text of his new edition, include passages on relatives, friends, and various censorable topics omitted from the Table Talk of 1835 and unpublished until now. These two volumes also contain talk recorded by other listeners from 1798 until Coleridge's death in 1834. Some of these records have not been previously published; some are published from manuscripts that differ from versions previously known. Also included are previously unpublished remarks by Wordsworth. Along with a bibliography of earlier editions of Table Talk and other useful appendixes, Carl Woodring's edition reprints the second edition (1836), which differs from the manuscripts more extensively than the edition of 1835.
THis is the first fully annotated edition of a work that long remained more popular in the United Kingdom than any of the works in prose published by Coleridge himself. The two volumes make a convenient encyclopedia of his ideas and interests.
Carl Woodring is George Edward Woodberry Professor of Literature Emeritus at Columbia University.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

During his adult life until his death in 1834, Coleridge made entries in more than sixty notebooks. Neither commonplace books nor diaries, but something of both, they contain notes on literary, theological, philosophical, scientific, social, and psychological matters, plans for and fragments of works, and many other items of great interest. This fourth double volume of the Notebooks covers the years 1819 through 1826. The range of Coleridge's reading, his endless questioning, and his recondite sources continue to fascinate the readers. Included here are drafts and full versions of the later poems. Many passages reflect the technological interests that led to Coleridge's writing of Aids of Reflection, later to become an important source for the Transcendentalists.
Another development in this volume is the startling expansion of Coleridge's interest in "the theory of life" and in chemistry--the laboratory chemistry of the Royal Institution of Great Britain and the theoretical chemistry of German transcendentalists such as Okea, Steffens, and Oersted. Also contained in this volume is an important section on the meaning of marriage.
Kathleen Coburn is Professor Emeritus at Victoria College of the University of Toronto. Merton Christensen was Professor of English at the University of Delaware.
Bollingen Series L:4.

Originally published in 1990.

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A discussion of the psychological and philosophical implications of events in Germany during and immediately following the Nazi period. The essays--"The Fight with the Shadow," "Wotan," "Psychotherapy Today," "Psychotherapy and a Philosophy of Life," "After the Catastrophe," and an Epilogue--are extracted from Volumes 10 and 16.

Originally published in 1989.

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Published originally in 1809-1810, The Friend was revised in 1812, by public demand. In 1818, a three-volume rifacimento appeared in which Coleridge attempted to dispel obscurity, tie up loose threads of reasoning, and provide more mature apercus. Now, in the Collected Works, The Friend has been re-edited to return to Coleridge's 1818 text. His emendations, cuts, and marginal comments noted in six copies of the work, as well as manuscript additions and deletions, have been included as footnotes. The editor’s footnotes also elucidate sources and themes and provide translations of the many Latin and Greek passages. The entire periodical Friend is given as an appendix, with the 1812 revisions.

Originally published in 1969.

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Coleridge began in 1795 a series of public lectures. This volume includes all the printed and manuscript versions of the Bristol lectures in chronological sequence. Among the contents are "Lectures on Revealed Religion, Its Corruption, and Its Political Views" and "Lecture on the Slave-Trade."

Originally published in 1971.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"For Perse these lines are brief, but they are as fine as anything he has done." With these words The Times Literary Supplement greeted the publication in France of the last four poems written by the Nobel Prize winner before his death in 1975. This volume provides their French texts with an English translation by Richard Howard, completing the publication in Bollingen Series of the collected poetry of St.-John Perse.

Originally published in 1977.

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Presented here in English translation are letters selected for publication by the poet himself, shortly before his death, from his wide correspondence with famous writers and public figures such as W. H. Auden, Francis and Katherine Biddle, Paul Claudel, Joseph Conrad, E. E. Cummings, Mina Curtiss, T. S. Eliot, André Gide, Dag Hammarskjöld, Archibald MacLeish, Jean Paulhan, Jacques Riviére, Igor Stravinsky, Allen Tate, and Paul Valéry.

Originally published in 1979.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Collected Poems of the Nobel laureate and poet-statesman are here reissued with the posthumous Song for an Equinox, to form a complete edition of his poetic oeuvre, including also his I960 Nobel speech On Poetry" and his 1965 essay on Dante.

Originally published in 1983.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Contents: Poems and Verse Plays; Plays and Libretti; Hofmannsthal's Debt to the English-speaking World

Originally published in 1973.

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The authoritative edition of the revealing lectures Jung delivered during medical school

In spring 1895, shortly after he had enrolled in the medical school of Basel University, C. G. Jung became a member of the Zofingia Society, a Swiss student fraternity. The five lectures he gave to his Zofingia colleagues during the following four years represent, as Ernst Benz has written, “a valuable clarification of the suppositions of Jung’s scientific thought and of the bases of his religious views.”

Confirming that Jung’s concern with Freudian psychoanalysis was a diversion in his intellectual development, these lectures, published here for the first time, anticipate his mature interest in empirical psychology, spiritualism, the occult, and the metaphysical. The topics include aspects of Christianity, with a critique of the thought of the theologian Albrecht Ritschl; the limits of exact science; and rational and empirical psychology. The annotation for the volume is by William McGuire and Jan van Heurck.

When Vladimir Nabokov's translation of Pushkin’s masterpiece Eugene Onegin was first published in 1964, it ignited a storm of controversy that famously resulted in the demise of Nabokov’s friendship with critic Edmund Wilson. While Wilson derided it as a disappointment in the New York Review of Books, other critics hailed the translation and accompanying commentary as Nabokov’s highest achievement. Nabokov himself strove to render a literal translation that captured "the exact contextual meaning of the original," arguing that, "only this is true translation." Nabokov’s Eugene Onegin remains the most famous and frequently cited English-language version of the most celebrated poem in Russian literature, a translation that reflects a lifelong admiration of Pushkin on the part of one of the twentieth century’s most brilliant writers. Now with a new foreword by Nabokov biographer Brian Boyd, this edition brings a classic work of enduring literary interest to a new generation of readers.

This landmark book explores the Great Mother as a primordial image of the human psyche. Here the renowned analytical psychologist Erich Neumann draws on ritual, mythology, art, and records of dreams and fantasies to examine how this archetype has been outwardly expressed in many cultures and periods since prehistory. He shows how the feminine has been represented as goddess, monster, gate, pillar, tree, moon, sun, vessel, and every animal from snakes to birds. Neumann discerns a universal experience of the maternal as both nurturing and fearsome, an experience rooted in the dialectical relation of growing consciousness, symbolized by the child, to the unconscious and the unknown, symbolized by the Great Mother.

Featuring a new foreword by Martin Liebscher, this Princeton Classics edition of The Great Mother introduces a new generation of readers to this profound and enduring work.

Bronislaw Malinowski (1884-1942) was a wide-ranging thinker whose ideas affected almost every branch of the social sciences. And nowhere is this impact more evident or more persistent than on the study of myth, ritual, and religion. He articulated as never before or since a program of seeing myths as part of the functional, pragmatic, or performed dimension of culture--that is, as part of activities that did certain tasks for particular human communities. Spanning his entire career, this anthology brings together for the first time the important texts from his work on myth. Ivan Strenski's introduction places Malinowski in his intellectual world and traces his evolving conception of mythology. As Strenski points out, Malinowski was a pioneer in applying the lessons of psychoanalysis to the study of culture, while at the same time he attempted to correct the generalizations of psychoanalysis with the cross-cultural researches of ethnology. With his growing interest in psychoanalysis came a conviction that myths performed essential cultural tasks in "chartering" all sort of human institutions and practices.

Originally published in 1992.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In 1925, while transcribing and painting in his Red Book, C. G. Jung presented a series of seminars in English in which he spoke for the first time in public about his early spiritualistic experiences, his encounter with Freud, the genesis of his psychology, and the self-experimentation he called his "confrontation with the unconscious," describing in detail a number of pivotal dreams and fantasies. He then presented an introductory overview of his ideas about psychological typology and the archetypes of the collective unconscious, illustrated with case material and discussions concerning contemporary art. He focused particularly on the contra-sexual elements of the personality, the anima and the animus, which he discussed with the participants through psychological analyses of popular novels, such as Rider Haggard's She. The notes from these seminars form the only reliable published autobiographical account by Jung and the clearest and most important account of the development of his work.


This revised edition features additional annotations, information from the Red Book, and an introduction by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

In the autumn of 1912, C. G. Jung, then president of the International Psychoanalytic Association, set out his critique and reformulation of the theory of psychoanalysis in a series of lectures in New York, ideas that were to prove unacceptable to Freud, thus creating a schism in the Freudian school. Jung challenged Freud's understandings of sexuality, the origins of neuroses, dream interpretation, and the unconscious, and Jung also became the first to argue that every analyst should themselves be analyzed. Seen in the light of the subsequent reception and development of psychoanalysis, Jung's critiques appear to be strikingly prescient, while also laying the basis for his own school of analytical psychology.

This volume of Jung's lectures includes an introduction by Sonu Shamdasani, Philemon Professor of Jung History at University College London, and editor of Jung's Red Book.

One of Jung's most influential ideas has been his view, presented here, that primordial images, or archetypes, dwell deep within the unconscious of every human being. The essays in this volume gather together Jung's most important statements on the archetypes, beginning with the introduction of the concept in "Archetypes and the Collective Unconscious." In separate essays, he elaborates and explores the archetypes of the Mother and the Trickster, considers the psychological meaning of the myths of Rebirth, and contrasts the idea of Spirits seen in dreams to those recounted in fairy tales.


This paperback edition of Jung's classic work includes a new foreword by Sonu Shamdasani, Philemon Professor of Jung History at University College London.

This exploration of cultural resilience examines the complex fate of classical Egyptian religion during the centuries from the period when Christianity first made its appearance in Egypt to when it became the region's dominant religion (roughly 100 to 600 C.E. Taking into account the full range of witnesses to continuing native piety--from papyri and saints' lives to archaeology and terracotta figurines--and drawing on anthropological studies of folk religion, David Frankfurter argues that the religion of Pharonic Egypt did not die out as early as has been supposed but was instead relegated from political centers to village and home, where it continued a vigorous existence for centuries.


In analyzing the fate of the Egyptian oracle and of the priesthoods, the function of magical texts, and the dynamics of domestic cults, Frankfurter describes how an ancient culture maintained itself while also being transformed through influences such as Hellenism, Roman government, and Christian dominance. Recognizing the special characteristics of Egypt, which differentiated it from the other Mediterranean cultures that were undergoing simultaneous social and political changes, he departs from the traditional "decline of paganism/triumph of Christianity" model most often used to describe the Roman period. By revealing late Egyptian religion in its Egyptian historical context, he moves us away from scenarios of Christian triumph and shows us how long and how energetically pagan worship survived.

Dream interpretation was a prominent feature of the intellectual and imaginative world of late antiquity, for martyrs and magicians, philosophers and theologians, polytheists and monotheists alike. Finding it difficult to account for the prevalence of dream-divination, modern scholarship has often condemned it as a cultural weakness, a mass lapse into mere superstition. In this book, Patricia Cox Miller draws on pagan, Jewish, and Christian sources and modern semiotic theory to demonstrate the integral importance of dreams in late-antique thought and life. She argues that Graeco-Roman dream literature functioned as a language of signs that formed a personal and cultural pattern of imagination and gave tangible substance to ideas such as time, cosmic history, and the self.


Miller first discusses late-antique theories of dreaming, with emphasis on theological, philosophical, and hermeneutical methods of deciphering dreams as well as the practical uses of dreams, especially in magic and the cult of Asclepius. She then considers the cases of six Graeco-Roman dreamers: Hermas, Perpetua, Aelius Aristides, Jerome, Gregory of Nyssa, and Gregory of Nazianus. Her detailed readings illuminate the ways in which dreams provided solutions to ethical and religious problems, allowed for the reconfiguration of gender and identity, provided occasions for the articulation of ethical ideas, and altogether served as a means of making sense and order of the world.

Nietzsche's infamous work Thus Spake Zarathustra is filled with a strange sense of religiosity that seems to run counter to the philosopher's usual polemics against religious faith. For some scholars, this book marks little but a mental decline in the great philosopher; for C. G. Jung, Zarathustra was an invaluable demonstration of the unconscious at work, one that illuminated both Nietzsche's psychology and spirituality and that of the modern world in general. The original two-volume edition of Jung's lively seminar on Nietzsche's Zarathustra has been an important source for specialists in depth psychology. This new abridged paperback edition allows interested readers to participate with Jung as he probes the underlying meaning of Nietzsche's great work.

The crowning cultural achievement of medieval India, Tantric Buddhism is known in the West primarily for the sexual practices of its adherents, who strive to transform erotic passion into spiritual ecstasy. Historians of religion have long held that the enlightenment thus attempted was for men only, and that women in the movement were at best marginal and subordinated and at worst degraded and exploited. Miranda Shaw argues to the contrary, presenting extensive new evidence of the outspoken and independent female founders of the Tantric movement and their creative role in shaping its distinctive vision of gender relations and sacred sexuality.

The Jewish philosopher Martin Buber spoke directly to the most profound human concerns in all his works, including his discussions of Hasidism, a mystical-religious movement founded in Eastern Europe by Israel ben Eliezer, called the Baal-Shem (the Master of God's Name). Living in the first part of the eighteenth century in Podolia and Wolhynia, the Baal-Shem braved scorn and rejection from the rabbinical establishment and attracted followers from among the common people, the poor, and the mystically inclined. Here Buber offers a sensitive and intuitive account of Hasidism, followed by twenty stories about the life of the Baal-Shem. This book is the earliest and one of the most delightful of Buber's seven volumes on Hasidism and can be read not only as a collection of myth but as a key to understanding the central theme of Buber's thought: the I-Thou, or dialogical, relationship.


"All positive religion rests on an enormous simplification of the manifold and wildly engulfing forces that invade us: it is the subduing of the fullness of existence. All myth, in contrast, is the expression of the fullness of existence, its image, its sign; it drinks incessantly from the gushing fountains of life."--Martin Buber, from the introduction

For this new anthology, Anthony Bonner has chosen central texts from his acclaimed two-volume compilation Selected Works of Ramon Llull (Princeton, 1985). Available for the first time in an affordable format, these works serve as an introduction to the life and writings of the Catalan (properly, Majorcan) philosopher, mystic, and theologian who lived from 1232 to 1316. Founder of a school of Arabic and other languages, Llull was also a poet and novelist and one of the creators of literary Catalan.


This volume contains three prefaces on Llull's life, thought, and reputation. Of Llull's works, it offers Book of the Gentile and the Three Wise Men, his seminal Christian apology; the Ars brevis, a summary of his philosophical system; The Book of the Lover and the Beloved, a celebration of mystical love in the courtly tradition; and his wittily scathing Book of the Beasts.

One of the three great gods of Hinduism, Siva is a living god. The most sacred and most ancient book of India, The Rg Veda, evokes his presence in its hymns; Vedic myths, rituals, and even astronomy testify to his existence from the dawn of time. In a lively meditation on Siva--based on original Sanskrit texts, many translated here for the first time--Stella Kramrisch ponders the metaphysics, ontology, and myths of Siva from the Vedas and the Puranas.


Who is Siva? Who is this god whose being comprises and transcends everything? From the dawn of creation, the Wild God, the Great Yogi, the sum of all opposites, has been guardian of the absolute. By retelling and interweaving the many myths that keep Siva alive in India today, Kramrisch reveals the paradoxes in Siva's nature and thus in the nature of consciousness itself.

The Homeric Hymn to Demeter, composed in the late seventh or early sixth century B.C.E., is a key to understanding the psychological and religious world of ancient Greek women. The poem tells how Hades, lord of the underworld, abducted the goddess Persephone and how her grieving mother, Demeter, the goddess of grain, forced the gods to allow Persephone to return to her for part of each year. Helene Foley presents the Greek text and an annotated translation of this poem, together with selected essays that give the reader a rich understanding of the Hymn's structure and artistry, its role in the religious life of the ancient world, and its meaning for the modern world.

Acknowledged by T. S. Eliot as crucial to understanding "The Waste Land," Jessie Weston's book has continued to attract readers interested in ancient religion, myth, and especially Arthurian legend. Weston examines the saga of the Grail, which, in many versions, begins when the wounded king of a famished land sees a procession of objects including a bleeding lance and a bejewelled cup. She maintains that all versions defy uniform applications of Celtic and Christian interpretations, and explores the legend's Gnostic roots.


Drawing from J. G. Frazer, who studied ancient nature cults that associated the physical condition of the king with the productivity of the land, Weston considers how the legend of the Grail related to fertility rites--with the lance and the cup serving as sexual symbols. She traces its origins to a Gnostic text that served as a link between ancient vegetation cults and the Celts and Christians who embellished the story. Conceiving of the Grail saga as a literary outgrowth of ancient ritual, she seeks a Gnostic Christian interpretation that unites the quest for fertility with the striving for mystical oneness with God.

The only Freudian to have been originally trained in folklore and the first psychoanalytic anthropologist to carry out fieldwork, Gza Rcheim (1891-1953) contributed substantially to the worldwide study of cultures. Combining a global perspective with encyclopedic knowledge of ethnographic sources, this Hungarian analyst demonstrates the validity of Freudian theory in both Western and non-Western settings. These seventeen essays, written between 1922 and 1953, are among Rcheim's most significant published writings and are collected here for the first time to introduce a new generation of readers to his unique interpretations of myths, folktales, and legends.


From Australian aboriginal mythology to Native American trickster tales, from the Grimm folktale canon to Hungarian folk belief, Rcheim explores a wide range of issues, such as the relationship of dreams to folklore and the primacy of infantile conditioning in the formation of adult fantasy. An introduction by folklorist Alan Dundes describes Rcheim's career, and each essay is prefaced by a brief consideration of its intellectual and bibliographical context.

The medieval legend of the Grail, a tale about the search for supreme mystical experience, has never ceased to intrigue writers and scholars by its wildly variegated forms: the settings have ranged from Britain to the Punjab to the Temple of Zeus at Dodona; the Grail itself has been described as the chalice used by Christ at the Last Supper, a stone with miraculous youth-preserving virtues, a vessel containing a man's head swimming in blood; the Grail has been kept in a castle by a beautiful damsel, seen floating through the air in Arthur's palace, and used as a talisman in the East to distinguish the chaste from the unchaste. In his classic exploration of the obscurities and contradictions in the major versions of this legend, Roger Sherman Loomis shows how the Grail, once a Celtic vessel of plenty, evolved into the Christian Grail with miraculous powers. Loomis bases his argument on historical examples involving the major motifs and characters in the legends, beginning with the Arthurian legend recounted in the 1180 French poem by Chrtien de Troyes. The principal texts fall into two classes: those that relate the adventures of the knights in King Arthur's time and those that account for the Grail's removal from the Holy Land to Britain. Written with verve and wit, Loomis's book builds suspense as he proceeds from one puzzle to the next in revealing the meaning behind the Grail and its legends.

For C. G. Jung, 1925 was a watershed year. He turned fifty, visited the Pueblo Indians of New Mexico and the tribesmen of East Africa, published his first book on the principles of analytical psychology meant for the lay public, and gave the first of his formal seminars in English. The seminar, conducted in weekly meetings during the spring and summer, began with a notably personal account of the development of his thinking from 1896 up to his break with Freud in 1912. It moved on to discussions of the basic tenets of analytical psychology--the collective unconscious, typology, the archetypes, and the anima/animus theory. In the elucidation of that theory, Jung analyzed in detail the symbolism in Rider Haggard's She and other novels. Besides these literary paradigms, he made use of case material, examples in the fine arts, and diagrams.

Jane Harrison examines the festivals of ancient Greek religion to identify the primitive "substratum" of ritual and its persistence in the realm of classical religious observance and literature. In Harrison's preface to this remarkable book, she writes that J. G. Frazer's work had become part and parcel of her "mental furniture" and that of others studying primitive religion. Today, those who write on ancient myth or ritual are bound to say the same about Harrison. Her essential ideas, best developed and most clearly put in the Prolegomena, have never been eclipsed.

The tribal initiation of the shaman, the archetype of the serpent, exemplifies the death of the self and a rebirth into transcendent life. This book traces the images of spiritual initiation in religious rituals and myths of resurrection, poems and epics, cycles of nature, and art and dreaming. It dramatizes the metamorphosis from a common experience of death's inevitability into a transcendent freedom beyond individual limitations.


"This is a classic work in analytical psychology that offers crucial insights on the meaning of death symbolism (and its inevitably accompanying rebirth and resurrection symbolism) as part of the great theme of initiation, of which [Henderson] is the world's foremost psychological interpreter. This material is really the next step after the hero myth that Joseph Campbell has made so popular, and provides an understanding of how not to use the hero myth in an inflated way as a psychology of mastery, but as an attainment progressively to be died beyond. [Henderson] is helped by the presence of Maud Oakes, who is a trained anthropologist with exquisite taste in her choice of mythic materials and respect for their original contexts."--John Beebe

Extracted from Volumes 4, 5, 7, 8, 9, 10, 13 and 14. Extracts are also taken from Dream Analysis, C. G. Jung: Letters (Volumes 1 and 2) and C. G. Jung Speaking. A collection of Jung's most important contributions to the depth psychological understanding of masculinity, not only the psychology of men but the essence of masculinity in both sexes.

As a young man growing up near Basel, Jung was fascinated and disturbed by tales of Nietzsche's brilliance, eccentricity, and eventual decline into permanent psychosis. These volumes, the transcript of a previously unpublished private seminar, reveal the fruits of his initial curiosity: Nietzsche's works, which he read as a student at the University of Basel, had moved him profoundly and had a lifelong influence on his thought. During the sessions the mature Jung spoke informally to members of his inner circle about a thinker whose works had not only overwhelmed him with the depth of their understanding of human nature but also provided the philosophical sources of many of his own psychological and metapsychological ideas. Above all, he demonstrated how the remarkable book Thus Spake Zarathustra illustrates both Nietzsche's genius and his neurotic and prepsychotic tendencies.


Since there was at that time no thought of the seminar notes being published, Jung felt free to joke, to lash out at people and events that irritated or angered him, and to comment unreservedly on political, economic, and other public concerns of the time. This seminar and others, including the one recorded in Dream Analysis, were given in English in Zurich during the 1920s and 1930s.

Jan Bremmer presents a provocative picture of the historical development of beliefs regarding the soul in ancient Greece. He argues that before Homer the Greeks distinguished between two types of soul, both identified with the individual: the free soul, which possessed no psychological attributes and was active only outside the body, as in dreams, swoons, and the afterlife; and the body soul, which endowed a person with life and consciousness. Gradually this concept of two kinds of souls was replaced by the idea of a single soul. In exploring Greek ideas of human souls as well as those of plants and animals, Bremmer illuminates an important stage in the genesis of the Greek mind.

Extracted from Volumes 11 and 18. This selection of Jung's writings brings together a number of articles that are necessary for the understanding of his interpretation of the religious life and development of Western man: views that are central to his psychological thought.

While the basis of these seminars is a series of 30 dreams of a male patient of Jung's, the commentary ranges associatively over a broad expanse of Jung's learning and experience. A special value of the seminar is the close view it gives of Jung's method of dream analysis through amplification. The editorial aim has been to preserve the integrity of Jung's text.

Extracted from Volumes 6, 7, 9, Parts I and II, 10 and 17. This collection offers a range of articles and extracts from Jung's writings on marriage, Eros, the mother, the maiden, and the anima/animus concept. In the absence of any single formal statement by Jung on the psychology of women, this work conveys his views on the feminine and on topics that are intrinsic or related.

Extracted from Volumes 10, 11, 13, and 18. Includes Commentary on The Secret of the Golden Flower, Psychological Commentary on The Tibetan Book of the Dead and The Tibetan Book of the Great Liberation, Foreword to Suzuki's Introduction to Zen Buddhism, and Foreword to the I Ching.

The acknowledged masterpiece of Unamuno expresses the anguish of modern man as he is caught up in the struggle between the dictates of reason and the demands of his own heart.

Extracted from Volumes 1, 8, and 18. Includes Jung's Foreword to Phenomènes Occultes (1939), "On the Psychology and Pathology of So-called Occult Phenomena," "The Psychological Foundations of Belief in Spirits," "The Soul and Death," "Psychology and Spiritualism," "On Spooks: Heresy or Truth?" and Foreword to Jaffé: Apparitions and Precognition.

Extracted from Volume 16. An authoritative account, based on a series of 16th century alchemical pictures, of Jung's handling of the transference between analyst and patient.

Extracted from Volume 8. Includes the title essay and "On Psychic Energy."

An investigation of the symbolism of the self

Aion, originally published in German in 1951, is one of the major works of Jung’s later years. The central theme of the volume is the symbolic representation of the psychic totality through the concept of the Self, whose traditional historical equivalent is the figure of Christ. Jung demonstrates his thesis by an investigation of the Allegoria Christi, especially the fish symbol, but also of Gnostic and alchemical symbolism, which he treats as phenomena of cultural assimilation. The first three chapters—on the ego, the shadow, and the anima and animus—provide a valuable summation of these key concepts in Jung’s system of psychology.

A complete revision of Psychology of the Unconscious (orig. 1911-12), Jung's first important statement of his independent position.

Essays on aspects of analytical therapy, specifically the transference, abreaction, and dream analysis. Contains an additional essay, "The Realities of Practical Psychotherapy," found among Jung's posthumous papers.

Jung's last major work, completed in his 81st year, on the synthesis of the opposites in alchemy and psychology.

Jung’s landmark account of the connections between alchemy, its symbolism, the collective unconscious, and modern psychology

Psychology and Alchemy is one of Jung’s most influential works. In a prefatory note, he says: “In this present study of alchemy I have taken a particular example of symbol-formation, extending in all over some seventeen centuries, and have subjected it to intensive examination, linking it at the same time with an actual series of dreams recorded by a modern European not under my direct supervision and having no knowledge of what the symbols appearing in the dream might mean. It is by such intensive comparisons as this (and not one but many) that the hypothesis of the collective unconscious—of an activity in the human psyche making for the spiritual development of the individual human being—may be scientifically established.”

This is the second, completely revised edition. The book features 270 illustrations, drawn largely from old alchemical books and manuscripts, many of which were in Jung’s personal collection.

This volume has become known as perhaps the best introduction to Jung's work. In these famous essays. "The Relations between the Ego and the Unconscious" and "On the Psychology of the Unconscious," he presented the essential core of his system. Historically, they mark the end of Jung's intimate association with Freud and sum up his attempt to integrate the psychological schools of Freud and Adler into a comprehensive framework.


This is the first paperback publication of this key work in its revised and augmented second edition of 1966. The earliest versions of the Two Essays, "New Paths in Psychology" (1912) and "The Structure of the Unconscious" (1916), discovered among Jung's posthumous papers, are published in an appendix, to show the development of Jung's thought in later versions. As an aid to study, the index has been comprehensively expanded.

Nine essays, written between 1922 and 1941, on Paracelsus, Freud, Picasso, the sinologist Richard Wilhelm, Joyce's Ulysses, artistic creativity generally, and the source of artistic creativity in archetypal structures.

One of the most important of Jung's longer works, and probably the most famous of his books, Psychological Types appeared in German in 1921 after a "fallow period" of eight years during which Jung had published little. He called it "the fruit of nearly twenty years' work in the domain of practical psychology," and in his autobiography he wrote: "This work sprang originally from my need to define the ways in which my outlook differed from Freud's and Adler's. In attempting to answer this question, I came across the problem of types; for it is one's psychological type which from the outset determines and limits a person's judgment. My book, therefore, was an effort to deal with the relationship of the individual to the world, to people and things. It discussed the various aspects of consciousness, the various attitudes the conscious mind might take toward the world, and thus constitutes a psychology of consciousness regarded from what might be called a clinical angle."


In expounding his system of personality types Jung relied not so much on formal case data as on the countless impressions and experiences derived from the treatment of nervous illnesses, from intercourse with people of all social levels, "friend and foe alike," and from an analysis of his own psychological nature. The book is rich in material drawn from literature, aesthetics, religion, and philosophy. The extended chapters that give general descriptions of the types and definitions of Jung's principal psychological concepts are key documents in analytical psychology.

Papers on child psychology, education, and individuation, underlining the overwhelming importance of parents and teachers in the genesis of the intellectual, feeling, and emotional disorders of childhood. The final paper deals with marriage as an aid or obstacle to self-realization.

Erich Kahler sees cultural history as a subtle process in which reality plays upon consciousness and consciousness itself is forever transforming reality. He traces the ebb and flow of this relationship by studying changes in narrative form from its beginnings in the Gilgamesh Cycle to the end of the eighteenth century. The general direction is toward a growing inwardness, he finds; what takes place is an expansion of consciousness as man constantly draws outer space, the contents of a more and more complex world, into what Rilke called Weltinnenraum, "inner space."

Originally published in 1973.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe.



European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book.

George Chapman's translations of Homer--immortalized by Keats's sonnet-- are the most famous in the English language. Swinburne praised their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." And the great critic George Saintsbury wrote, "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what the Greek was. Chapman is far nearer Homer than any modern translator in any modern language."


This volume presents the original text of Chapman's translation of the Homeric hymns. The hymns, believed to have been written not by Homer himself but by followers who emulated his style, are poems written to the gods and goddesses of the ancient Greek pantheon. The collection, originally titled by Chapman "The Crowne of all Homers Workes," also includes epigrams and poems attributed to Homer and known as "The Lesser Homerica," as well as his famous "The Battle of Frogs and Mice."

"Kundalini yoga presented Jung with a model of something that was almost completely lacking in Western psychology--an account of the development phases of higher consciousness.... Jung's insistence on the psychogenic and symbolic significance of such states is even more timely now than then. As R. D. Laing stated... 'It was Jung who broke the ground here, but few followed him.'"--From the introduction by Sonu Shamdasani


Jung's seminar on Kundalini yoga, presented to the Psychological Club in Zurich in 1932, has been widely regarded as a milestone in the psychological understanding of Eastern thought and of the symbolic transformations of inner experience. Kundalini yoga presented Jung with a model for the developmental phases of higher consciousness, and he interpreted its symbols in terms of the process of individuation. With sensitivity toward a new generation's interest in alternative religions and psychological exploration, Sonu Shamdasani has brought together the lectures and discussions from this seminar. In this volume, he re-creates for today's reader the fascination with which many intellectuals of prewar Europe regarded Eastern spirituality as they discovered more and more of its resources, from yoga to tantric texts. Reconstructing this seminar through new documentation, Shamdasani explains, in his introduction, why Jung thought that the comprehension of Eastern thought was essential if Western psychology was to develop. He goes on to orient today's audience toward an appreciation of some of the questions that stirred the minds of Jung and his seminar group: What is the relation between Eastern schools of liberation and Western psychotherapy? What connection is there between esoteric religious traditions and spontaneous individual experience? What light do the symbols of Kundalini yoga shed on conditions diagnosed as psychotic? Not only were these questions important to analysts in the 1930s but, as Shamdasani stresses, they continue to have psychological relevance for readers on the threshold of the twenty-first century. This volume also offers newly translated material from Jung's German language seminars, a seminar by the indologist Wilhelm Hauer presented in conjunction with that of Jung, illustrations of the cakras, and Sir John Woodroffe's classic translation of the tantric text, the Sat-cakra Nirupana.
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Abridged from the four-volume The Passion of al-Hallaj, one of the major works of Western orientalism, this book explores the life and teaching of a famous tenth-century Sufi mystic and martyr, and in so doing describes not only his experience but also the whole milieu of early Islamic civilization. Louis Massignon (1883-1962), France's most celebrated Islamic specialist in this century and a leading Catholic intellectual, wrote of a man who was for him a personal inspiration.


From reviews of the four-volume translation:

Written reputedly by an Egyptian magus, Horapollo Niliacus, in the fourth century C.E., The Hieroglyphics of Horapollo is an anthology of nearly two hundred "hieroglyphics," or allegorical emblems, said to have been used by the Pharaonic scribes in describing natural and moral aspects of the world. Translated into Greek in 1505, it informed much of Western iconography from the sixteenth through the nineteenth centuries. This work not only tells how various types of natural phenomena, emotions, virtues, philosophical concepts, and human character-types were symbolized, but also explains why, for example, the universe is represented by a serpent swallowing its tail, filial affection by a stork, education by the heavens dropping dew, and a horoscopist by a person eating an hourglass.


In his introduction Boas explores the influence of The Hieroglyphics and the causes behind the rebirth of interest in symbolism in the sixteenth century. The illustrations to this edition were drawn by Albrecht Dürer on the verso pages of his copy of a Latin translation.

Beginning with Jung's earliest correspondence to associates of the psychoanalytic period and ending shortly before his death, the 935 letters selected for these two volumes offer a running commentary on his creativity. The recipients of the letters include Mircea Eliade, Sigmund Freud, Esther Harding, James Joyce, Karl Kernyi, Erich Neumann, Maud Oakes, Herbert Read, Upton Sinclair, and Father Victor White.

In exploring the manifestations of human spiritual experience both in the imaginative activities of the individual and in the formation of mythologies and of religious symbolism in various cultures, C. G. Jung laid the groundwork for a psychology of the spirit. The excerpts here illuminate the concept of the unconscious, the central pillar of his work, and display ample evidence of the spontaneous spiritual and religious activities of the human mind. This compact volume will serve as an ideal introduction to Jung's basic concepts.


Part I of this book, "On the Nature and Functioning of the Psyche," contains material from four works: "Symbols of Transformation," "On the Nature of the Psyche," "The Relations between the Ego and the Unconscious," and "Psychological Types." Also included in Part I are "Archetypes of the Collective Unconscious" and "Psychological Aspects of the Mother Archetype." Part II, "On Pathology and Therapy," includes "On the Nature of Dreams," "On the Pathogenesis of Schizophrenia," and selections from "Psychology of the Transference." In Part III appear "Introduction to the Religious and Psychological Problems of Alchemy" and two sections of "Psychology and Religion." Part IV, called "On Human Development," consists of the essay "Marriage as a Psychological Relationship."

The archetypes of human experience which derive from the deepest unconscious mind and reveal themselves in the universal symbols of art and religion as well as in the individual symbolic creations of particular people are, for C. G. Jung, the key to the cure of souls, the cornerstone of his therapeutic work. This volume explains the function and origin of these symbols. Here the reader will find not only a general orientation to Jung's point of view but extensive studies of the symbolic process and its integrating function in human psychology as it is reflected in the characteristic spiritual productions of Europe and Asia. Violet de Laszlo has selected for inclusion in Psyche and Symbol five selections from Aion: "The Ego," "The Shadow," "The Syzygy: Anima and Animus," "The Self," and "Christ, A Symbol of the Self." The book continues with "The Phenomenology of the Spirit in Fairy Tales," "The Psychology of the Child Archetype," and "Transformation Symbolism in the Mass." Also included are the foreword to the Cary Banes translation of the I Ching, two chapters from Synchronicity: An Acausal Connecting Principle, "Psychological Commentary on The Tibetan Book of the Dead," and "Commentary on The Secret of the Golden Flower."

This lively, intimate, sometimes disrespectful, but always knowledgeable history of the Bollingen Foundation confirms its pervasive influence on American intellectual life. Conceived by Paul and Mary Mellon as a means of publishing in English the collected works of C. G. Jung, the Foundation broadened to encompass scholarship and publication in a remarkable number of fields. Here are wonderful portraits of the central figures, including the Mellons, Jung himself, Heinrich Zimmer, Joseph Campbell, D. T. Suzuki, Natacha Rambova, Vladimir Nabokov, Gershom Scholem, Herbert Read, and Kurt and Helen Wolff.

The classic work on Gothic religious architecture, now with added illustrations and a new section by the author on rose windows

No other monument of a culture so radically different from our own is as much a part of contemporary life as the Gothic cathedral. In this illuminating book, esteemed art historian Otto Georg von Simson explores how Gothic architecture is an expression of supernatural reality, and shows how, to those who designed and worshipped in the great cathedrals of France in the twelfth and thirteenth centuries, this symbolic function of sacred architecture overshadowed all others. The Gothic Cathedral takes readers from the birth of the Gothic style with the Basilica of St.-Denis to the consummation of the form in the majestic Cathedral of Chartres, revealing how these incomparable architectural masterpieces embodied the spiritual and intellectual order of the medieval world.

A collection of journalistic interviews which span Jung's lifetime. This book captures his personality and spirit in more than 50 accounts of talks and meetings with him. They range from transcripts of interviews for radio, television, and film to memoirs written by notable personalities.

Appearing for the first time in paperback and illustrated with line drawings, diagrams, and 26 half-tone plates, this study of the iconographic aspect of Japanese Buddhist sculpture surveys the significance of eight principal and six secondary hand gestures (mudra), in addition to the postures (asana), such as the "lotus," and the symbolic attributes. A pictorial index helps the reader in identifying the gestures.

Volume two of the acclaimed Oxford translation of Aristotle’s works—now fully revised and expanded

Originally published in twelve volumes between 1912 and 1954, the Oxford translation of Aristotle is universally recognized as the standard English version of the great philosopher’s works. This revised edition has been fully updated in the light of modern scholarship while remaining faithful to the substance and vibrancy of the original translation. Now available in two volumes with three new translations and an enlarged selection of Fragments, The Complete Works of Aristotle makes the surviving writings of Aristotle readily accessible to a new generation of English-speaking readers.

Volume one of the acclaimed Oxford translation of Aristotle’s works—now fully revised and expanded

Originally published in twelve volumes between 1912 and 1954, the Oxford translation of Aristotle is universally recognized as the standard English version of the great philosopher’s works. This revised edition has been fully updated in the light of modern scholarship while remaining faithful to the substance and vibrancy of the original translation. Now available in two volumes with three new translations and an enlarged selection of Fragments, The Complete Works of Aristotle makes the surviving writings of Aristotle readily accessible to a new generation of English-speaking readers.

Originally published as Volume 2 of The Tao of Painting, this is the first English translation of the famous Chinese handbook, the "Chieh Tzu Yüan Hua Chuan" (original, 1679-1701). Mai-mai Sze has translated and annotated the texts of instructions, discussions of the fundamentals of painting, notes on the preparation of colors, and chief editorial prefaces.

Beginning with Jung's earliest correspondence to associates of the psychoanalytic period and ending shortly before his death, the 935 letters selected for these two volumes offer a running commentary on his creativity. The recipients of the letters include Mircea Eliade, Sigmund Freud, Esther Harding, James Joyce, Karl Kernyi, Erich Neumann, Maud Oakes, Herbert Read, Upton Sinclair, and Father Victor White.

This book provides a very accessible general introduction to the Jungian concept of ego development and Jung's theory of personality structure--the collective unconscious, anima, animus, shadow, archetypes.

A study of the primitive and unconscious aspects of man's nature and the processes by which their energies may contribute to the integration of personality. New edition, comprehensively revised and enlarged, with many new illustrations.

As an associate of C. G. Jung for many years, Jolande Jacobi is in a unique position to provide an interpretation of his work. In this volume, Dr. Jacobi presents a study of three central, interrelated concepts in analytical psychology: the individual complex, the universal archetype, and the dynamic symbol.

A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art history

Throughout Chinese history, dynastic time—the organization of history through the lens of successive dynasties—has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history.

Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history.

Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

The first book to put the sacred and sensuous bronze statues from India’s Chola dynasty in social context

From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures—including Shiva, referred to in a saintly vision as “the thief who stole my heart”—were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes.

Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire’s political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls.

From the Cholas’ religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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From the bestselling author of SPQR: A History of Ancient Rome, the fascinating story of how images of Roman autocrats have influenced art, culture, and the representation of power for more than 2,000 years

What does the face of power look like? Who gets commemorated in art and why? And how do we react to statues of politicians we deplore? In this book—against a background of today’s “sculpture wars”—Mary Beard tells the story of how for more than two millennia portraits of the rich, powerful, and famous in the western world have been shaped by the image of Roman emperors, especially the “Twelve Caesars,” from the ruthless Julius Caesar to the fly-torturing Domitian. Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns.

Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century American sculptor Edmonia Lewis, as well as by generations of weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority.

From Beard’s reconstruction of Titian’s extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII’s famous Caesarian tapestries, Twelve Caesars includes fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

How artists created an aesthetic of “positive barbarism” in a world devastated by World War II, the Holocaust, and the atomic bomb

In Brutal Aesthetics, leading art historian Hal Foster explores how postwar artists and writers searched for a new foundation of culture after the massive devastation of World War II, the Holocaust, and the atomic bomb. Inspired by the notion that modernist art can teach us how to survive a civilization become barbaric, Foster examines the various ways that key figures from the early 1940s to the early 1960s sought to develop a “brutal aesthetics” adequate to the destruction around them.

With a focus on the philosopher Georges Bataille, the painters Jean Dubuffet and Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg, Foster investigates a manifold move to strip art down, or to reveal it as already bare, in order to begin again. What does Bataille seek in the prehistoric cave paintings of Lascaux? How does Dubuffet imagine an art brut, an art unscathed by culture? Why does Jorn populate his paintings with “human animals”? What does Paolozzi see in his monstrous figures assembled from industrial debris? And why does Oldenburg remake everyday products from urban scrap?

A study of artistic practices made desperate by a world in crisis, Brutal Aesthetics is an intriguing account of a difficult era in twentieth-century culture, one that has important implications for our own.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe

As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.

Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.

Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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A bold new interpretation of two northern Renaissance masters

In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us.

Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history’s unexplored underside: the image itself as an enemy.

An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists—including Bosch’s notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner’s A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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A history of the reception of Chinese painting from the sixteenth century to the present

What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.

Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting.

Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can’t make sense of contemporary art

A classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible.

An insightful and entertaining exploration of art’s most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store.

After the End of Art addresses art history, pop art, “people’s art,” the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.

A brilliant brief account of romanticism and its influence from one of the most important philosophers and intellectual historians of the twentieth century

In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven. The ideas and attitudes of these and other figures, Berlin argues, helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, self-fulfillment, and the exalted place of art.

This new edition, illustrated for the first time, also features a new foreword by philosopher John Gray, in which he discusses Berlin's belief that the influence of romanticism has been unpredictable and contradictory in the extreme, fuelling anti-liberal political movements but also reinvigorating liberalism; a revised text; and a new appendix that includes some of Berlin's correspondence about the lectures and the reactions to them.

A groundbreaking reassessment of Picasso by one of today's preeminent art historians

Picasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era. From Pablo Picasso's early The Blue Room to the later Guernica, eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined—too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work.

With compelling insight, Clark focuses on three central works—the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)—and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art—humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars.

Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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A major reevaluation of Caravaggio from one of today's leading art historians

This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. The result is an electrifying new perspective on a crucial episode in the history of European painting.

Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne.

Please note: All images in this ebook are presented in black and white and have been reduced in size.

Modern American poets writing in the face of death

In Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.

A groundbreaking account of perception and art, from one of the twentieth century’s most important art historians

E. H. Gombrich is widely considered to be one of the most influential art historians of the twentieth century, and Art and Illusion is generally agreed to be his most important book. Bridging science and the humanities, this classic work examines the history and psychology of pictorial representation in light of modern theories of information and learning in visual perception. Searching for a rational explanation of the changing styles of art, Gombrich reexamines ideas about the imitation of nature and the function of tradition. In testing his arguments, he ranges over the history of art, from the ancient Greeks, Leonardo, and Rembrandt to the impressionists and the cubists. But the triumphant originality of Art and Illusion is that Gombrich is less concerned with the artists than with the psychological experience of the viewers of their work.

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An incomparable look at how Chinese artists have used mass production to assemble exquisite objects from standardized parts

Chinese workers in the third century BCE created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century CE, Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. As these examples show, throughout history, Chinese artisans have produced works of art in astonishing quantities, and have done so without sacrificing quality, affordability, or speed of manufacture. In this book, Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. He reveals how these systems have deep roots in Chinese thought and reflect characteristically Chinese modes of social organization. Combining invaluable aesthetic and cultural insights with a rich variety of illustrations, Ten Thousand Things make a profound statement about Chinese art and society.

A groundbreaking account of the meaning of abstract painting

From Mondrian's bold geometric forms to Kandinsky's use of symbols to Pollock's "dripped paintings," the richly diverse movement of abstract painting challenges anyone trying to make sense of either individual works or the phenomenon as a whole. Applying his insights as an art historian and a painter, John Golding offers a unique approach to understanding the evolution of abstractionism by looking at the personal artistic development of seven of its greatest practitioners. He re-creates the journey undertaken by each painter in his move from representational art to the abstract—a journey that in most cases began with cubism but led variously to symbolism, futurism, surrealism, theosophy, anthropology, Jungian analysis, and beyond. For each artist, spiritual quest and artistic experimentation became inseparable. And despite their different techniques and philosophies, these artists shared one goal: to break a path to a new, ultimate pictorial truth.

The book first explores the works and concerns of three pioneering European abstract painters—Mondrian, Malevich, Kandinsky—and then those of their American successors—Pollock, Newman, Rothko, and Still. Golding shows how each painter sought to see the world and communicate his vision in the purest or most expressive form possible. For example, Mondrian found his way into abstraction through a spiritual response to the landscape of his native Holland, Malevich through his apprehension of the human body, Kandinsky through a blend of religious mysticism and symbolism. Line and color became the focus for many of their creative endeavors. In the 1940s and 50s, the Americans raised the level of pictorial innovation, beginning most notably with Pollock and his Jung-inspired concept of action.

Golding makes a powerful case that at its best and most profound, abstract painting is heavily imbued with meaning and content. Through a blend of biography, art analysis, and cultural history, Paths to the Absolute offers remarkable insights into how a sense of purpose is achieved in painting, and how abstractionism engaged with the intellectual currents of its time.

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Unique perspectives from an acclaimed art historian on the relationship between drawing and painting

From Drawing to Painting interweaves biographical information about five renowned French artists—Nicolas Poussin, Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres—with a fascinating look at dozens of their drawings and the links that they have to their paintings. This book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas.

How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists’ intentions, their creative processes, and to penetrate their worlds? Pierre Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques.

From Drawing to Painting Offers an unprecedented view of the artistic process, and makes an important and beautiful addition to any art library.

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An in-depth look at the exquisite metal sculpture of the Roman baroque

Roman baroque sculpture is usually thought of in terms of large-scale statues in marble and bronze, tombs, or portrait busts. Smaller bronze statuettes are often overlooked, and the extensive production of sculptural silver—much of which is now lost but can be studied from drawings—is frequently omitted from the histories of art. In this book, Jennifer Montagu enriches our understanding of the sculpture of the period by investigating the bronzes that adorn the great tabernacles of Roman churches; gilded silver, both secular and ecclesiastical; elaborately embossed display dishes; and the production of medals. Concentrating on selected pieces by such master sculptors as Bernini and leading metal-workers such as Giovanni Giardini, Montagu examines the often tortuous relationship between patrons and artists and elucidates the relationship between those who provided the drawings or models and the craftsmen who executed the finished sculptures.

A vivid and exciting account of royal collectors, art dealers, connoisseurs, and the rise of old master paintings

Old master paintings are among the most valuable and prestigious of the visual arts, and the best examples command the highest prices of any luxury commodity. In Kings and Connoisseurs, Jonathan Brown tells the story of how painting rose to this exalted status. The transformation of painting from an inexpensive to a costly art form reached a crucial stage in the royal courts of Europe in the seventeenth century, where rulers and aristocrats assembled huge collections, often in short periods of time. By comparing collecting and collectors at these courts, Brown explains the formation of new attitudes toward pictures, as well as the mechanisms that supported the enterprise of collecting, including the emergence of the art dealer, the development of connoisseurship, and the publication of sumptuous picture books of various collections. The result is an exciting narrative of greed and passion, played out against a background of international politics and intrigue.

From one of the world’s leading authorities on ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to China

In this book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity—peoples who weren’t necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman examines how and why the arts of the classical world traveled and to what effect, from Britain to China, from roughly the eighth century BCE to the early centuries CE. In some places, such as Italy, Greek images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. And in cultures where there was a subtler blend of influences, notably in the Buddhist east, classical images served as a catalyst to the generation of new styles. Along the way, Boardman demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself, and he raises important questions about how images in general are copied and reinterpreted.

How ornamentation enables a direct and immediate encounter between viewers and art objects

Based on universal motifs, ornamentation occurs in many artistic traditions, though it reaches its most expressive, tangible, and unique form in the art of the Islamic world. The Mediation of Ornament shares a veteran art historian’s love for the sheer sensuality of Islamic ornamentation, but also uses this art to show how ornament serves as a consistent intermediary between viewers and artistic works from all cultures and periods. Oleg Grabar analyzes early and medieval Islamic objects, ranging from frontispieces in Yemen to tilework in the Alhambra, and compares them to Western examples, treating all pieces as testimony of the work, life, thought, and emotion experienced in one society. The Mediation of Ornament is essential reading for admirers of Islamic art and anyone interested in the ways of perceiving and understanding the arts more broadly.

A classic account of the villa—from ancient Rome to the twentieth century—by “the preeminent American scholar of Italian Renaissance architecture” (Architect’s Newspaper)

In The Villa, James Ackerman explores villa building in the West from ancient Rome to twentieth-century France and America. In this wide-ranging book, he illuminates such topics as the early villas of the Medici, the rise of the Palladian villa in England, and the modern villas of Frank Lloyd Wright and Le Corbusier. Ackerman uses the phenomenon of the “country place” as a focus for examining the relationships between urban and rural life, between building and the natural environment, and between architectural design and social, cultural, economic, and political forces. “The villa,” he reminds us, “accommodates a fantasy which is impervious to reality.” As city dwellers idealized country life, the villa, unlike the farmhouse, became associated with pleasure and asserted its modernity and status as a product of the architect’s imagination.

The classic work by internationally acclaimed Cézanne scholar John Rewald

In Cézanne and America, John Rewald presents a full account of how Paul Cézanne’s reputation and influence became established in America between 1891 and 1921, and of how some of the world’s largest collections of his works were formed in the United States. This is the fascinating story of enthusiastic young American artists who took up Cézanne’s cause after they discovered him in Paris. It is also the story of the discerning early American collectors of his work—Leo and Gertrude Stein, the Havemeyers, and John Quinn, among others—many of whom made their first purchases from Cézanne’s wily dealer Ambroise Vollard in Paris, or from the dealer Alfred Stieglitz in New York, and of the beginning of the famous collection of Dr. Albert C. Barnes. Each chapter is illustrated not only with Cézanne’s works but also with portraits of collectors and critics and with previously unpublished pages from diaries, dealers’ ledgers, and Cézanne’s own correspondence.

One of the twentieth century’s most influential texts on philosophical aesthetics

Painting as an Art is acclaimed philosopher Richard Wollheim’s encompassing vision of how to view art. Transcending the traditional boundaries of art history, Wollheim draws on his three great passions—philosophy, psychology, and art—to present an illuminating theory of the very experience of art. He shows how to unlock the meaning of a painting by retrieving—almost reenacting—the creative activity that produced it. In order to fully appreciate a work of art, Wollheim argues, critics must bring a much richer conception of human psychology than they have in the past. This classic book points the way to discovering what is most profound and subtle about paintings by major artists such as Titian, Bellini, and de Kooning.

A cultural and social history of art collecting, art history, and the art market

In The Rare Art Traditions, Joseph Alsop offers a wide-ranging cultural and social history of art collecting, art history, and the art market. He argues that art collecting is the basic element in a remarkably complex and historically rare behavioral system, which includes the historical study of art, the market for buying and selling art, museums, forgery, and the astonishing prices commanded by some works of art. The Rare Art Traditions tells the story of three important traditions of art collecting: the classical tradition that began in Greece, the Chinese tradition, and the Western tradition. The result is a major original contribution to art history.

From a leading art historian of Renaissance Italy, a compelling account of the artistic and cultural impact of the sack of sixteenth-century Rome

In this illustrated account of the sack of Rome as a cultural and artistic phenomenon, André Chastel reveals the historical ambiguities of preceding events and the traumatic contrast between the flourishing world of art under Pope Clement VII and the city after it was looted by the troops of Emperor Charles V in 1527. Chastel illuminates the cultural repercussions of the humiliation of Rome, emphasizing the spread or “Europeanization” of the Mannerist style by artists who fled the city—including Parmigianino, Rosso, Polidoro, Peruzzi, and Perino del Vaga. At the same time, Clement’s critics used the new media of printing and engraving to win over the people with caricatures and satirical writings, while Rome responded with monumental works affirming the legitimacy of the pope’s temporal power. Chastel explores both the world that was lost by the sack and the great works of art created during Rome’s recovery.

A striking account of Vasari’s career, friendships, and contribution to the art of the Italian Renaissance

Vasari’s Lives of the Most Excellent Architects, Painters, and Sculptors, first published in 1550, fixed for three hundred years general European views about the art of the Renaissance, and its influence still lingers today. While much has been written about Vasari’s writings, comparatively few full-length studies have dealt with the man himself. In this book, T.S.R. Boase offers a compelling account of Vasari’s life and career. At the same time, Boase explores Vasari’s ideas about the art and artists he described in the two editions of his Lives, placing these reflections in their contemporary context and later developments in art history and criticism. The result is an important appraisal of Vasari’s achievement, which despite its imperfections is without parallel in the history of Western art.

The classic book on William Blake as prophet of the New Age

William Blake (1757–1827) inhabited a remarkable inner world, one that he brought vividly to life in his poetry, painting, and printmaking. Blake and Antiquity situates this brilliant and enigmatic artist within the Western esoteric canon, revealing his indebtedness to Neoplatonism, the Gnostics, alchemy, and astrology. In this book, Kathleen Raine demonstrates how Blake rejected conventional orthodoxy and went in search among the occult traditions of antiquity for symbols that might expand the mind’s awareness into a spiritual state where space, time, and even death are transcended.

An essential guide to vital and often overlooked features of the architectural and social inheritance of the West

This book provides vital insights into the ways in which architecture reflects the character of society. Drawing on his immense erudition and keenly discerning eye, Nikolaus Pevsner describes twenty types of buildings ranging from the most monumental to the least, and from the ideal to the most utilitarian. He covers both European and American architecture, with examples chosen largely from the nineteenth century, the crucial period for diversification. Included are national monuments, libraries, theaters, hospitals, prisons, factories, hotels, and many other public buildings. Incisive and authoritative, A History of Building Types traces the evolution of each type in response to social and architectural change, and discusses differing attitudes toward function, materials, and style.

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An acclaimed art historian explains how to identify excellence in art

In this book, Jakob Rosenberg takes up the timeless problem of how to make a valid judgment about artistic quality. In his search for criteria of excellence in art, Rosenberg examines both the achievements and failures of other critics from the Renaissance to modern times, including Giorgio Vasari, Roger de Piles, Sir Joshua Reynolds, Théophile Thoré, and Roger Fry. Drawing vital lessons from these critics’ writings, Rosenberg charts an effective approach to the challenges of judging quality in works of art by analyzing master drawings from the fifteenth to twentieth centuries and comparing them with examples of followers or minor contemporaries. The result is a set of practical criteria that are applicable across diverse periods and styles. Brimming with insights from a legendary art critic and historian, On Quality in Art sheds invaluable light on drawings by artists ranging from Dürer, Raphael, Leonardo, Rubens, Rembrandt, Watteau, Degas, and van Gogh to Matisse, Picasso, and Marin.

From the celebrated cultural historian and bestselling author, a provocative history of the evolution of our ideas about art since the early nineteenth century

In this witty, provocative, and learned book, acclaimed cultural historian and writer Jacques Barzun traces our changing attitudes to the arts over the past 150 years, suggesting that we are living in a period of cultural liquidation, nothing less than the ending of the modern age that began with the Renaissance. He challenges our conceptions and misconceptions about art “in order to reach a conclusion about its value and its drawbacks for life at the present time.”

The classic study of the timeless relationship between literature and the visual arts

In his search for a common link between literature and the visual arts, Mario Praz draws on the abundant evidence of mutual understanding and correspondence they have long shared. Praz explains that within literature, each epoch has “its peculiar handwriting or handwritings, which, if one could interpret them, would reveal a character, even a physical appearance,” and while these characteristics belong to the general style of a given period, the personality of the writer does not fail to pierce through. Praz contends that something similar occurs in art. He shows how the likeness between the arts within various periods of history can ultimately be traced to structural similarities that arise out of the characteristic way in which the people of a certain epoch see and memorize facts aesthetically. Mnemosyne, at once the goddess of memory and the mother of the muses, presides over this view of the arts. In illustrating her influence, Praz ranges widely through Western sources, providing an incomparable tour of the literary and pictorial arts.

An eminent literary biographer and critic shows how poetry enriched the art of two representative English Romantic painters

In Visionary and Dreamer, David Cecil evokes the century of the poet-painter, when painting drew much of its inspiration from imaginative literature. Samuel Palmer (1805–1881), an unworldly visionary, obscure in his lifetime but now a recognized master, and Edward Burne-Jones (1833–1898), the Pre-Raphaelite daydreamer, once revered as a great painter but later admired chiefly for his work in applied art, emerge as artists who turned to their own inner lives to interpret Shakespeare, Milton, and Keats.

An illuminating look at the iconography of the early church and its important place in the history of Christian art

In this book, historian André Grabar demonstrates how early Christian iconography assimilated contemporary imagery of the time. Grabar looks at the most characteristic examples of paleo-Christian iconography, dwelling on their nature, form, and content. He explores the limits of originality in such art, its debt to figurative art, and the broader cultural climate in the Roman Empire, drawing a distinction between expressive images—that is, genuine works of art—and informative ones. Throughout, Grabar establishes the importance of imperial iconography in the development of Christian portraits and sheds light on the role they played alongside other forms of Christian piety in their day.

A landmark account of the work, thought, and life of the seventeenth-century French painter

In this book, Anthony Blunt presents a rich account of the paintings, life, and development of the great seventeenth-century French classicist Nicolas Poussin (1594–1665), addressing the artist’s entire oeuvre alongside his theory of art. Blunt shows why Poussin holds a central place in the great French humanist line that produced Racine, Molière, Voltaire, the Parnassians, and Mallarmé. At the same time, he examines how Poussin looks back to Raphael and ancient Rome, while pointing forward to Ingres, Cézanne, the Cubists, and Picasso.

A major account of Renaissance portraiture by one of the twentieth century’s most eminent art historians

In this book, John Pope-Hennessy provides an unprecedented look at two centuries of experiment in portraiture during the Renaissance. Pope-Hennessy shows how the Renaissance cult of individuality brought with it a demand that the features of the individual be perpetuated, a concept first manifested in the portraits that fill the great Florentine fresco cycles and led, later in the fifteenth century, to the creation of the independent portrait by such artists as Sandro Botticelli, Antonio del Pollaiuolo, Giovanni Bellini, and Antonello da Messina. Pope-Hennessy goes on to describe the process by which Titian and the great artists of the High Renaissance transformed the portrait from a record of appearance into an analysis of character.

An original account of ancient Egyptian and Sumerian architecture from the acclaimed architectural historian

In The Beginnings of Architecture, Sigfried Giedion examines the architecture of ancient Egypt and Sumer. These early builders expressed an attitude of immense force when they confronted their structures with open sky. Giedion argues that it was during these periods that the problem of constancy and change flared up with an intensity unknown in any other period of history, and resolved eventually into the first architectural space conception, the automatic, psychic recording of the visual environment.

A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architecture

In The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, materialistic approach, he explores paleolithic art by bringing abstraction, transparency, and simultaneity into play as modern art has revealed them anew. Focusing on the dual concepts of constancy and change, he examines paleolithic paintings, engravings, and sculpture, as well as modern art and recent examples of “primitive art.” He argues that the two keys to the meaning of prehistoric art are the symbol, portraying reality before reality exists, and the animal as humankind’s superior in the unified primordial world in which both human and animal were embedded. The result is a highly original and important study of prehistoric art.

Constructivist and sculptor Naum Gabo’s personal account of his development as an artist

A leading exponent of the modern art movement known as Constructivism, Russian-born Naum Gabo was one of the most important sculptors of the twentieth century—an artist, designer, and theorist whose work changed the course of modern art. Of Divers Arts is Gabo’s beautifully written personal account of his development and growing into consciousness as an artist and his constant search for new techniques of communication. Throughout, he reflects on the relationship between art and science and reveals the many important influences on his work, especially the natural world, Russian religious and folk art, and the work of the artist Mikhail Vrubel. The result is a remarkable autobiographical account of a major modern artist.

A stunning visual history of sculpture from prehistory through modernity

This book presents an aesthetic of sculptural art, which has too often submitted to the rule of architecture and painting. Herbert Read emphasizes the essential and autonomous nature of sculpture—“Form in its full spatial completeness,” in the words of British sculptor Henry Moore. The Art of Sculpture provides historical support and theoretical rigor to this conception. Along the way, this incisive and wide-ranging book takes readers on a breathtaking tour of great works of sculpture from prehistoric times to the modern era.

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An illuminating biographical study of the eighteenth-century English man of letters and patron of the arts

Horace Walpole (1717–1797) was a collector, printer, novelist, arbiter of taste, and renowned writer of letters. In this book, eminent scholar Wilmarth Sheldon Lewis provides an unprecedented look at the life and work of one of England’s greatest men of letters. Lewis sheds light on Walpole’s relationships with his family and friends, his politics, his writings and printmaking activities, and his correspondence. Featuring portraits of Walpole, his relatives, and friends; images of Walpole's sketches and manuscripts; pages from books printed at Walpole’s Strawberry Hill Press; and views and plans of Strawberry Hill, the house, its rooms and furnishings, and its grounds, and accompanied by Lewis’s extensive annotations, this book provides an invaluable history of an extraordinary man.

A classic study of the art of painting and its relationship to reality

In this book, Étienne Gilson puts forward a bold interpretation of the kind of reality depicted in paintings and its relation to the natural order. Drawing on insights from the writings of great painters—from Leonardo, Reynolds, and Constable to Mondrian and Klee—Gilson shows how painting is foreign to the order of language and knowledge. Painting, he argues, seeks to add new beings to nature, not to represent those that already exist. For this reason, we must distinguish it from another art, that of picturing, which seeks to produce images of actual or possible beings. Though pictures play an important part in human life, they do not belong in the art of painting. Through this distinction, Gilson sheds new light on the evolution of modern painting. A magisterial work of scholarship by an acclaimed historian of philosophy, Painting and Reality features paintings from both classical and modern schools, and includes extended selections from the writings of Reynolds, Delacroix, Gris, Gill, and Ozenfant.

A landmark study of the nude in art—from the ancient Greeks to Henry Moore—by a towering figure in art history

In this classic book, Kenneth Clark, one of the most eminent art historians of the twentieth century, examines the ever-changing fashion in what constitutes the ideal nude as a basis of humanist form, from the art of the ancient Greeks to that of Renoir, Matisse, and Henry Moore. The Nude reveals the sensitivity of aesthetic theory to fashion, what distinguishes the naked from the nude, and just why the nude has played such an important role in art history. As Clark writes, “The nude gains its enduring value from the fact that it reconciles several contrary states. It takes the most sensual and immediately interesting object, the human body, and puts it out of reach of time and desire; it takes the most purely rational concept of which man is capable, mathematical order, and makes it a delight to the senses; and it takes the vague fears of the unknown and sweetens them by showing that the gods are like men and may be worshipped for their life-giving beauty rather than their death-dealing powers.”

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An approach to music as an instrument of philosophical inquiry, seeking not so much a philosophy of music as a philosophy through music.

The classic work on the sublime interplay between the arts and poetics

This book explores the rich and complex relationship between art and poetry, shedding invaluable light on what makes each art form unique yet wholly interdependent. Jacques Maritain insists on the part played by the intellect as well as the imagination, showing how poetry has its source in the preconceptual activity of the rational mind. As Maritain argues, intellect is not merely logical and conceptual reason. Rather, it carries on an exceedingly more profound and obscure life, one that is revealed to us as we seek to penetrate the hidden recesses of poetic and artistic activity. Incisive and authoritative, this illuminating book is the product of a lifelong reflection on the meaning of artistic expression in all its varied forms.

A landmark one-volume edition of the complete Plato in classic modern translations

This is a a classic one-volume edition of all the writings of Plato generally considered to be authentic. The editors set out to choose the contents of this collected edition from the work of the best modern British and American translators. The volume contains prefatory notes to each dialogue, by Edith Hamilton; an introductory essay on Plato's philosophy and writings, by Huntington Cairns; and a comprehensive index with cross references to assist the reader with the philosophical vocabulary of the different translators.