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I introduced the term “post-Jungian” (Samuels, Jung and the PostJungians) as a conscious imitation of the term “post-Freudian” (Brown). I write as a practicing post-Jungian analyst, in a spirit of congratulation for (and celebration of) this book, though with some mischievous intent. Jung into our universities to consider whether their opposition might be more the result of prejudice than of anything else. It is clear that the time has come for those who have opposed the entry (or re-entry) of C.

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I would like to focus on four specific issues, in the spirit of encouraging debate between the community of professional Jungian analysts and the academic world, and also in the hope of stirring up some disagreements and controversies among the authors of this historically significant and groundbreaking collection that seeks to establish a Jungian “track” of literary criticism on as firm a basis as other tracks, such as the many varieties of psychoanalytically derived literary criticism.

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I am honored to have been asked to write this foreword, grateful to have been given a completely free hand, and responsive to the editors’ invitation to range widely. In the Buddha’s Shadow: Jung, Zen, and the Poetry of Jane Hirshfield Andrew ElkinsĪ Bibliography of Jungian and Post-Jungian Criticism, 1980–2000 Marcia Nichols “The Sun’s Children”: Shadow Work in the Poetry of LeRoi Jones/Imamu Amiri Baraka Rebecca Meacham Sharing a Shadow: The Image of the Shrouded Stranger in the Works of Jack Kerouac and Allen Ginsberg James T. Opened Ground from a Jungian Perspective: The Father Archetype in the Poetry of Seamus Heaney J.

Jung and Chekhov: Physicians of the Soul Sally Porterfield Baumlin Jungian Insights into Victorian Cultural Ambiguities Wilkie Collins’s The Woman in White Sophia Andresĭrs. Jane Iterare: Jane Eyre as a Feminist Revision of the Hero’s Journey Tita French Baumlin and James S. Theorizing Writerly Creativity: Jung with Lacan? Oliver Davisĭetective Films and Images of the Orient: A Post-Jungian Reflection Luke HockleyĪiring (Erring) the Soul: An Archetypal View of Television Keith Polette Jung’s Ghost Stories: Jung for Literary Theory in Feminism, Poststructuralism, and Postmodernism Susan Rowland Introduction: Situating Jung in Contemporary Critical Theory George H. PN98.P75P64 2003 801'.95-dc21 2003052816 10 9 8 7 6 5 4 3 2 1ĭisclaimer: Some images in the original version of this book are not available for inclusion in the eBook.

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(SUNY series in psychoanalysis and culture) Includes bibliographical references and index. Hamel Marketing by Jennifer Giovani Library of Congress Cataloging-in-Publication Data Post-Jungian criticism : theory and practice / edited by James S. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Christine L. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. Excerpts from Jane Hirshfield’s interviews and poetry that appear in Andrew Elkins’s essay (chapter 11) are reprinted with the permission of Jane Hirshfield and Wesleyan University Press (for excerpts from Of Gravity and Angels).

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In chapter 10, Eric Pervukhin’s “Beat Hermit Tarot Card” is reproduced with permission of the artist, and three frames portraying Jack Kerouac’s Shrouded Traveler from the documentary movie Go Moan for Man are reproduced with permission of Doug and Judi Sharples (© 2000 Real Films). Also in chapter 6, William Holman Hunt’s The Light of the World and The Awakening Conscience are reproduced courtesy of Foto Marburg/Art Resource and the Tate Gallery/Art Resource, respectively. Baumlin’s essay (chapter 6) revises their earlier piece, “‘Reader, I Married Him’: Archetypes of the Feminine in Jane Eyre” (CEA Critic 60 : 14–34). Two chapters have appeared previously in an earlier form: Sophia Andres’s essay (chapter 5) elaborates upon her previous work, “Pre-Raphaelite Paintings and Jungian Images in Wilkie Collins’ The Woman in White” (Victorian Newsletter 88 : 26–31), and Tita French Baumlin and James S. Jensen foreword byĪcknowledgments Cover design by Eric Pervuhkin, whose oil painting, Jacob Dreaming, is reproduced courtesy of the artist. Post-Jungian Criticism Theory and Practice �� edited by SUNY series in Psychoanalysis and Culture Henry Sussman, editor