Jung as a writer

Jung as a Writer traces a relationship between Jung and literature by analysing his texts using the methodology of literary theory. This investigation serves to illuminate the literary nature of Jung’s writing in order to shed new light on his psychology and its relationship with literature as a cultural practice. Jung employed literary devices throughout his writing, including direct and indirect argument, anecdote, fantasy, myth, epic, textual analysis and metaphor. Susan Rowland examines Jung’s use of literary techniques in several of his works, including Anima and Animus, On the Nature of the Psyche, Psychology and Alchemy and Synchronicity and describes Jung’s need for literature in order to capture in writing his ideas about the unconscious. Jung as a Writer succeeds in demonstrating Jung’s contribution to literary and cultural theory in autobiography, gender studies, postmodernism, feminism, deconstruction and hermeneutics and concludes by giving a new culturally-orientated Jungian criticism. The application of literary theory to Jung’s works provides a new perspective on Jungian Psychology that will be of interest to anyone involved in the study of Jung, Psychoanalysis, literary theory and cultural studies. [From the Publisher]

Discourse and soul: Jung, literature, science and tragedy as mythical writing

This paper will propose that literature and science, far from being discrete spheres of cultural activity, are, in fact, the cultural expressions of interlocking myths. They therefore overlap and even take each other’s places, as examination of the ‘science’ of C.G. Jung and the ‘art’ of a writer such as John Cowper Powys, will show. ‘Dis-course’, I argue, is the material aspect of the mythical structuring of psychic experience. In the work of Jung and Powys, discourse is the articulation of the soul in the world that spans personal, social, natural and cosmic space. [From the Author]

Astonishing apples: visualising the novel

This paper explores the developing relationship between fictional and visual representations. The impact of visual art on the novel as mimetic is an issue that writers have engaged with and written about from the mid-nineteenth century to the present day, often raising the question of the art/life dialectic and how it has evolved through the novel’s exploration of ideas. From painting, photography, cinema, television and newer digital visual cultures writers have sought to involve themselves in a critical examination of the impact of changes in these forms on other art form and on wider society. How do these visual forms affect what it means to be an artist, a writer, a human being? The paper takes the work of Paul Cezanne as a starting point in the history of representation. Writers such as Rainer Maria Rilke, theorists such as Maurice Merleau-Ponty, and other artists like Picasso, have been influenced by, or responded to, Cezanne’s work and to Cezanne’s writings on art and his letters to his great childhood friend, the novelist Emile Zola. By discussing the creative practice of writing a novel this paper will examine questions of how the novel can, and should, respond to the impact of visual culture’s seeming dominance over other art forms. It also explores what impact new forms of visual culture have had upon the mimetic and formal aspects of the novel and how the novel works as representational, especially in relation to representations of human consciousness. [From the Author]

Reflection is alive and well, but not what you think

More and more, Business and Management students (and those in other disciplines) are being asked to undertake written reflection upon their learning as part of assessed course-work. This paper examines this trend and explores the thinking behind it: why lecturers see reflection as valuable to students, whether they undertake reflection themselves, what theoretical underpinning they perceive as justifying and explaining their views. The results of a survey undertaken among Business and Management lecturers are reported, which appear to show that the most influential writer on the subject of reflection in learning – the one most frequently cited by the respondents – is David A. Kolb, author of the well-known Experiential Learning Theory (1984), and one of the moving forces behind experiential learning in general. His ideas have attracted a good deal of criticism, but are still current, having been suitably updated and defended, (2005). The paper critically re-examines Kolb’s Experiential Learning Theory, challenging its relevance to most of Higher Education, as characterised by Peter Jarvis in his useful table of learning situations as “formal and intended” (2004; 108). Other criticisms of Kolb’s Experiential Learning Theory are advanced that are entirely new. Returning to the survey, the papers discusses the reasons lecturers believe reflection is valuable to students and concludes that Kolb’s model, and others such as Schön’s (1987), fail to adequately explain or even identify them.