Jung and the Making of Modern Psychology by Sonu Shamdasani

By Sonu Shamdasani

After many years of delusion making, C.G. Jung continues to be probably the most misunderstood figures in Western highbrow background. This entire research of the origins of his psychology presents a brand new viewpoint at the upward thrust of recent psychology and psychotherapy. It reconstructs the reception of Jung's paintings within the human sciences, and its influence at the social and highbrow historical past of the 20th century. The e-book creates a foundation for any destiny dialogue of Jung through starting new vistas in psychology.

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They do not fit into its mould. And the gap of one word does not feel like the gap of another, all empty of content as both might seem necessarily to be when described as gaps. When I vainly try to recall the name of Spalding, my consciousness is far removed from what it is when I vainly try to recall the name of Bowles . . the feeling of an absence is toto coelo other than the absence of a feeling. It is an intense feeling. The rhythm of a lost word may be there without a sound to clothe it; or the evanescent sense of something which is the initial vowel or consonant may mock us fitfully, without growing more distinct.

The custom has spread, and it will be well for us in the next generation if such circulars be not ranked among the common pests of life . . There are great sources of error in the comparative method. The interpretation of the ‘psychoses’ of animals, savages and infants is necessarily wild work, in which the personal equation of the investigator has things very much its own way. A savage will be reported to have no moral or religious feeling if his actions shock the observer unduly. A child will be assumed without self-consciousness because he talks of himself in the third person .

49 48 49 Finally, the means to abridge the manuscript extensively was enabled by a performance of Joe Zawinul. After completing this study, I came across the following statement by Jaime de Angulo in his introduction to his manuscript, “What is Language”: “In the introduction we have called language a protean thing, and we have compared it to a kaleidoscope, ever changing with every twist of the instrument, or to an opal presenting new iridescences when viewed from different angles. For that very reason it is almost impossible to present language in an orderly sequence.

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