The great psychologist dreamed that his work was understood by a wide public, rather than just by psychiatrists, and therefore he agreed to write and edit this fascinating book. Here, Jung examines the full world of the unconscious, whose language he believed to be the symbols constantly revealed in dreams. Convinced that dreams offer practical advice, sent from the unconscious to the conscious self, Jung felt that self-understanding would lead to a full and productive life. Thus, the reader will gain new insights into himself from this thoughtful volume, which also illustrates symbols throughout history. Completed just before his death by Jung and his associates, it is clearly addressed to the general reader.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Utilizing nearly two hundred examples of modern fantasy, author Farah Mendlesohn uses this system to explore how fiction writers construct their fantastic worlds. Mendlesohn posits four categories of fantasy--portal-quest, immersive, intrusion, and liminal--that arise out of the relationship of the protagonist to the fantasy world. Using these sets, Mendlesohn argues that the author's stylistic decisions are then shaped by the inescapably political demands of the category in which they choose to write. Each chapter covers at least twenty books in detail, ranging from nineteenth-century fantasy and horror to extensive coverage of some of the best books in the contemporary field. Offering a wide-ranging discussion and penetrating comparative analysis, Rhetorics of Fantasy will excite fans and provide a wealth of material for scholarly and classroom discussion.Includes discussion of works by over 100 authors, including Lloyd Alexander, Peter Beagle, Marion Zimmer Bradley, John Crowley, Stephen R. Donaldson, Stephen King, C. S. Lewis, Gregory Maguire, Robin McKinley, China Mieville, Suniti Namjoshi, Philip Pullman, J. K. Rowling, Sheri S. Tepper, J. R. R. Tolkien, Tad Williams

    The celebrated author explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and understand what we know.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    Not since Bettelheim's The Uses of Enchantment has the underlying significance of fantasy and fairy tales been so insightfully and entertainingly mined.

    In The Agony of Eros, a bestseller in Germany, Han considers the threat to love and desire in today's society. For Han, love requires the courage to accept self-negation for the sake of discovering the Other. In a world of fetishized individualism and technologically mediated social interaction, it is the Other that is eradicated, not the self. In today's increasingly narcissistic society, we have come to look for love and desire within the “inferno of the same.”Han offers a survey of the threats to Eros, drawing on a wide range of sources—Lars von Trier's film Melancholia, Wagner's Tristan und Isolde, Fifty Shades of Grey, Michel Foucault (providing a scathing critique of Foucault's valorization of power), Martin Buber, Hegel, Baudrillard, Flaubert, Barthes, Plato, and others. Han considers the “pornographication” of society, and shows how pornography profanes eros; addresses capitalism's leveling of essential differences; and discusses the politics of eros in today's “burnout society.” To be dead to love, Han argues, is to be dead to thought itself.Concise in its expression but unsparing in its insight, The Agony of Eros is an important and provocative entry in Han's ongoing analysis of contemporary society.This remarkable essay, an intellectual experience of the first order, affords one of the best ways to gain full awareness of and join in one of the most pressing struggles of the day: the defense, that is to say—as Rimbaud desired it—the “reinvention” of love.—from the foreword by Alain Badiou

    P. Lovecraft, the seminal, enigmatic horror writer of the early 20th century. Houellebecq’s insights into the craft of writing illuminate both Lovecraft and Houellebecq’s own work. The two are kindred spirits, sharing a uniquely dark worldview. But even as he outlines Lovecraft’s rejection of this loathsome world, it is Houellebecq’s adulation for the author that drives this work and makes it a love song, infusing the writing with an energy and passion not seen in Houellebecq’s other novels to date.

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    But what came before the Greeks? What if we could prove that all myths have one common origin in a celestial cosmology? What if the gods, the places they lived & what they did are but ciphers for celestial activity, a language for the perpetuation of complex astronomical data? Drawing on scientific data, historical & literary sources, the authors argue that our myths are the remains of a preliterate astronomy, an exacting science whose power & accuracy were suppressed & then forgotten by an emergent Greco-Roman world view. This fascinating book throws into doubt the self-congratulatory assumptions of Western science about the unfolding development & transmission of knowledge. This is a truly seminal & original thesis, a book that should be read by anyone interested in science, myth & the interactions between the two.

    In considering such aspects, the author goes beyond the domain of pure aesthetics and offers an interpretation of some basic cultural problems of our time.

    B. Carnochan accounts for the increasing interest in the English novel, including the contributions that Ian Watt's study made to literary studies: his introduction of sociology and philosophy to traditional criticism.

    How could none of it be true?" • "Atheism has killed more people than religion, so it must be wrong!" How many times have you heard arguments like these for why God exists? Why There Is No God provides simple, easy-to-understand counterpoints to the most popular arguments made for the existence of God. Each chapter presents a concise explanation of the argument, followed by a response illustrating the problems and fallacies inherent in it. Whether you're an atheist, a believer or undecided, this book offers a solid foundation for building your own inquiry about the concept of God.

    The masterly essay on Tolstoy's view of history, in which Sir Isaiah underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.