Psychology and Alchemy, volume 12 in The Collected Works of C. G. Jung, is Carl Jung's study of the analogies between alchemy, Christian dogma, and psychological symbolism. Alchemy is central to Jung's hypothesis of the collective unconscious. This book begins with an outline of the process and aims of psychotherapy as seen by Jung. It then moves on to work out the analogies mentioned above and his own understanding of the analytic process. Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of the alchemists. Finally, in using the alchemical process to provide insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent na
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| - Psicología y alquimia (es)
- Psychologie et Alchimie (fr)
- Psicologia e alchimia (it)
- Psychology and Alchemy (en)
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| - Psicología y alquimia (en alemán Psychologie und Alchimie) es una obra de Carl Gustav Jung publicada en 1944. Representa el duodécimo volumen de su Obra completa, siendo a su vez uno de sus principales trabajos dedicados al estudio de la alquimia. El resto del tratamiento y aproximación a la misma se incluirá en las siguientes obras: Aion (OC 9/2), Estudios sobre representaciones alquímicas (OC 13), Mysterium coniunctionis (OC 14) y La psicología de la transferencia (incluida en OC 16). (es)
- Psychologie et Alchimie (Psychologie und Alchemie) est un ouvrage du psychiatre et psychanalyste Carl Gustav Jung publié originellement en 1944 et en français en 1952, présentant ses analyses de la symbolique alchimique. Jung voit dans l'alchimie un terreau pertinent permettant de comparer les archétypes, et illustrant le concept d'individuation. Il présente également près de 270 illustrations alchimiques. L'ouvrage a été traduit en français par Henry Pernet et Roland Cahen. (fr)
- Psychology and Alchemy, volume 12 in The Collected Works of C. G. Jung, is Carl Jung's study of the analogies between alchemy, Christian dogma, and psychological symbolism. Alchemy is central to Jung's hypothesis of the collective unconscious. This book begins with an outline of the process and aims of psychotherapy as seen by Jung. It then moves on to work out the analogies mentioned above and his own understanding of the analytic process. Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of the alchemists. Finally, in using the alchemical process to provide insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent na (en)
- Psicologia e alchimia, pubblicata a Zurigo dopo 15 anni di studi, è un'opera di argomento psicologico e filosofico dello psicoanalista Carl Gustav Jung. Con quest'opera l'autore intese sottolineare la forte correlazione tra il mondo alchemico e la sua psicologia analitica, fondata sulla convinzione dell'esistenza di archetipi associabili ai simboli alchemici. (it)
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| - When the alchemist speaks of Mercurius, on the face of it he means quicksilver , but inwardly he means the world-creating spirit concealed or imprisoned in matter. The dragon is probably the oldest pictoral symbol in alchemy of which we have documentary evidence. It appears as the Ouroboros, the tail-eater, in the Codex Marcianus, which dates from the tenth or eleventh century, together with the legend 'the One, the All'. Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one, that it is a sort of circle like a dragon biting its own tail. For this reason the opus was often called circulare or else rota . Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again in the lapis. He is the play of colours in the cauda pavonis and the division into the four elements. He is the hermaphrodite that was in the beginning, that splits into the classical brother-sister duality and is reunited in the coniunctio, to appear once again at the end in the radiant form of the lumen novum, the stone. He is metallic yet liquid, matter yet spirit, cold yet fiery, poison and yet healing draught - a symbol uniting all the opposites. (en)
- The real mystery does not behave mysteriously or secretively; it speaks a secret language, it adumbrates itself by a variety of images which all indicate its true nature. I am not speaking of a secret personally guarded by someone, with a content known to its possessor, but of a mystery, a matter or circumstance which is "secret," i.e., known only through vague hints but essentially unknown. The real nature of matter was unknown to the alchemist: he knew it only in hints. In seeking to explore it he projected the unconscious into the darkness of matter in order to illuminate it. In order to explain the mystery of matter he projected yet another mystery - his own psychic background -into what was to be explained: Obscurum per obscurius, ignotum per ignotius! This procedure was not, of course, intentional; it was an involuntary occurrence. (en)
- From this point of view, alchemy seems like a continuation of Christian mysticism carried on in the subterranean darkness of the unconscious.... But this unconscious continuation never reached the surface, where the conscious mind could have dealt with it. All that appeared in consciousness were the symbolic symptoms of the unconscious process. Had the alchemist succeeded in forming any concrete idea of his unconscious contents, he would have been obliged to recognize that he had taken the place of Christ - or, to be more exact, that he, regarded not as ego but as self, had taken over the work of redeeming not man but God. He would then have had to recognize not only himself as the equivalent of Christ, but Christ as a symbol of the self. This tremendous conclusion failed to dawn on the medieval mind. (en)
- Now, all these myth-pictures represent a drama of the human psyche on the further side of consciousness, showing man as both the one to be redeemed and the redeemer. The first formulation is Christian, the second alchemical. In the first case man attributes the need of redemption to himself and leaves the work of redemption, the actual opus, to the autonomous divine figure; in the latter case man takes upon himself the duty of carrying out the redeeming opus, and attributes the state of suffering and consequent need of redemption to the anima mundi imprisoned in matter. In both cases redemption is a work. In Christianity it is the life and death of the God-man which, by a unique sacrifice, bring about the reconciliation of man, who craves redemption and is sunk in materiality, with God. The mystical effect of the God-man's self-sacrifice extends, broadly speaking, to all men, though it is efficacious only for those who submit through faith or are chosen by divine grace; but in the Pauline acceptance it acts as an apocatastasis and extends also to non-human creation in general, which, in its imperfect state, awaits redemption like the merely natural man. (en)
- I am therefore inclined to assume that the real root of alchemy is to be sought less in philosophical doctrines than in the projections of individual investigators. I mean by this that while working on his chemical experiments the operator had certain psychic experiences which appeared to him as the particular behaviour of the chemical process. Since it was a question of projection, he was naturally unconscious of the fact that the experience had nothing to do with matter itself . He experienced his projection as a property of matter; but what he was in reality experiencing was his own unconscious. In this way he recapitulated the whole history of mankind's knowledge of nature.... Such projections repeat themselves whenever man tries to explore an empty darkness and involuntarily fills it with living form. (en)
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| - Part 3, Chapter 2.1 (en)
- Part 3, Chapter 3.1 (en)
- Part 3, Chapter 3.3 (en)
- Part 3, Chapter 5.1 (en)
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| - Psicología y alquimia (en alemán Psychologie und Alchimie) es una obra de Carl Gustav Jung publicada en 1944. Representa el duodécimo volumen de su Obra completa, siendo a su vez uno de sus principales trabajos dedicados al estudio de la alquimia. El resto del tratamiento y aproximación a la misma se incluirá en las siguientes obras: Aion (OC 9/2), Estudios sobre representaciones alquímicas (OC 13), Mysterium coniunctionis (OC 14) y La psicología de la transferencia (incluida en OC 16). (es)
- Psychology and Alchemy, volume 12 in The Collected Works of C. G. Jung, is Carl Jung's study of the analogies between alchemy, Christian dogma, and psychological symbolism. Alchemy is central to Jung's hypothesis of the collective unconscious. This book begins with an outline of the process and aims of psychotherapy as seen by Jung. It then moves on to work out the analogies mentioned above and his own understanding of the analytic process. Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of the alchemists. Finally, in using the alchemical process to provide insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. Detailed abstracts of each chapter are available online. (en)
- Psychologie et Alchimie (Psychologie und Alchemie) est un ouvrage du psychiatre et psychanalyste Carl Gustav Jung publié originellement en 1944 et en français en 1952, présentant ses analyses de la symbolique alchimique. Jung voit dans l'alchimie un terreau pertinent permettant de comparer les archétypes, et illustrant le concept d'individuation. Il présente également près de 270 illustrations alchimiques. L'ouvrage a été traduit en français par Henry Pernet et Roland Cahen. (fr)
- Psicologia e alchimia, pubblicata a Zurigo dopo 15 anni di studi, è un'opera di argomento psicologico e filosofico dello psicoanalista Carl Gustav Jung. Con quest'opera l'autore intese sottolineare la forte correlazione tra il mondo alchemico e la sua psicologia analitica, fondata sulla convinzione dell'esistenza di archetipi associabili ai simboli alchemici. Oltre che uno studio di tipo scientifico, la stesura stessa dell'opera fu, per Jung, la dimostrazione della sete di conoscenza umana e di un'attitudine inconscia a rifuggire dall'ignoranza, poiché frutto di un intenso interesse dell'analista nell'approcciarsi ad una nuova materia. Come in molte altre opere dell'autore, al testo sono affiancate numerose immagini iconografiche che hanno un fine non solo estetico ma anche esplicativo. (it)
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