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By Matthew A. Fike

Applying the analytical psychology of Carl Jung, Matthew A. Fike offers a clean knowing of individuation in Shakespeare. This research of “the visionary mode”— Jung’s time period for literature that comes in the course of the artist from the collective unconscious—combines a powerful grounding in Jungian terminology and concept with fable feedback, biblical literary feedback, and postcolonial thought. Fike attracts widely at the wealthy discussions within the gathered Works of C. G. Jung to light up chosen performs resembling A Midsummer Night’s Dream, The service provider of Venice, The Henriad, Othello, and Hamlet in new and mind-blowing methods. Fike’s transparent and thorough method of Shakespeare deals intriguing, unique scholarship that might attract scholars and students alike.

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Like other things in Jungian psychology, however, his theory of time is not without at least one contradiction. When he writes about future time in Synchronicity: An Acausal Connecting Principle, he argues that “it would be absurd to suppose that a situation which does not yet exist and will only occur in the future could transmit itself as a phenomenon of energy to a receiver in the present” (CW 8, 840/ 435). But in his essay “On Synchronicity” he states, in connection with J. B. Rhine’s experiments with precognition, that future time “can become psychically relative” (CW 8, 978/527), which presumably means that a future event could transmit itself to someone in the present.

50). 1057/9780230618558 - A Jungian Study of Shakespeare, Matthew A. 51–54). 168). And a bit later she notes that “The moon . . 193). With so much evidence for the presence of moonlight, it is incorrect to claim that the moon does not shine at all during the play. A more likely view relates to Jung’s sense that the moon corresponds to the kind of irrationality that characterizes the events in the night woods. He notes, for example, Pico’s view—that “the sphere of the moon” relates to the appetites, strong passions, “or, in a word, concupiscentia” (CW 14, 171/143–44)—which brings to mind Theseus’s statements about the lunatic.

Fancy is a passive and uncreative act that deals in “fixities”; rather than remaking anything, it merely receives the material produced by the primary and secondary imaginations. ” In light of Bottom’s transformation into a creature half man and half ass, the fact that A Midsummer Night’s Dream illustrates Coleridge’s secondary imagination is unmistakable. ”21 In other words, something in poetic creation transcends reason and even imagination. Thus the question becomes how Theseus’s speech suggests the imagination’s relationship to the psychological, the visionary, and the divine.

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