Monthly Archives: June 2014

Middle Way Thinkers 4: Jung

Carl Gustav Jung (1875-1961), the great Swiss psychoanalyst, had a long and rich life and left a huge body of writings behind him. I think he offers a huge contribution to our thinking on the Middle Way. Though his approach has been dismissed by some who regard themselves as hard scientists or analytic philosophers, I would argue that these criticisms are often based on prejudicial misunderstandings of his work and its significance. More than anything, I think his contribution is philosophical, in the sense of offering us new and helpful ways of understanding and assessing our beliefs and the ways we interpret our experience. He also offers a personal narrative of his incredibly rich and inspiring inner life. Questions remain about his effectiveness as a therapist – a point that I don’t feel in any position to assess – but even if he ‘cured’ nobody, his interactions with patients provided a strong basis of experience that supports the philosophical and cultural value of his work.

Jung was the son of a Protestant pastor, and qualified in medicine before specialising in psychiatry. He encountered and was influenced by Freud, the founder of psychoanalysis, but rejected some of Freud’s dogmatic assumptions, such as his materialism and his reduction of desire to sexuality. In this respect you could compare Jung’s position to that of other philosophical disciples who have learnt much from but greatly surpassed their masters (such as Plato and Aristotle), primarily by identifying dogmatic assumptions that were holding back their masters and freeing themselves of those assumptions.Carl_Gustav_Jung

Jung saw himself as a man of science, and constantly  strove to meet the standards of objectivity that he felt were necessary to meet what he saw as the exacting standards of science. This is what led him to be so cautious during his lifetime in publishing accounts of his inner experience. This commitment seems to me double-edged: it led him towards a genuine objectivity of approach, but also led him to attempt what was probably impossible, to convince those committed to a naturalistic approach to science that phenomena as remote from publically-verifiable, reproducible proof as the unconscious or the archetypes should be taken seriously in scientific terms. In my view it is science that needs to try to live up to Jung’s high standards of objectivity, not the other way round. Jung was not afraid of the use of ‘private’ experience, or of material from cultural or religious traditions, and thus did not unnecessarily narrow the field of investigation, or impose likely conclusions that are the result of limitations in the methodology, in the way that those who insist on ‘hard’ scientific evidence have to do. His hypotheses about these areas of experience provide us with a valuable basis of understanding that is well supported by Jung’s experience, and by the provisionality that went with his scientific approach.

Jung’s biggest contribution to our understanding of the Middle Way has to be the concept of integration – which Jung more commonly referred to as individuation. Recognising that our experience comprises a variety of energies, symbols and beliefs that may be in conflict, with some repressing others and the repressed elements often unconscious, Jung saw the goal of human life as overcoming these conflicts and bringing these energies together. This insight has huge implications far beyond the medical model of psychotherapy – for example as the basis of moral objectivity – though this is a point that Jung himself only seems to recognise implicitly rather than advertise explicitly.

I prefer the term ‘integration’ to ‘individuation’, because this makes it clear that integration is not only the process of psychological development in an individual, but can also be applied at a social level. Again, I would say that Jung also recognised this point implicitly, but did not discuss it explicitly because of the extent to which exploring these philosophical implications might potentially threaten the scientific credentials he wanted to maintain. I see integration as the Middle Way inside out: rather than just avoiding dogmatic beliefs on either side, integration brings together experiential beliefs and energies that at first were unnecessarily opposed. Each supports the other, because it is only by avoiding metaphysical beliefs (that cannot be integrated) that we can make integration possible.

Jung’s other huge contribution to our understanding of the Middle Way lies in his development of the concept of archetypes. There has been much confusion about what Jung meant to assert about the status of archetypes, much of which has arisen from his use of the term ‘collective unconscious’ where he placed the archetypes. Some people have mistaken the collective unconscious for some kind of Platonic realm of absolutes, but Jung makes it clear that he is only referring to the universality that comes from genetic similarity between human beings, that gives us all similar psychic functions. These psychic functions need to be expressed by symbols, but the form of those symbols will differ between cultures. Thus, for example, the Shadow archetype is the one we encounter in symbols like Satan, Darth Vader, Sauron and Voldemort – an embodiment of evil found in all cultures because it reflects the psychic function of rejecting what we do not identify with. Any creature with aversions will have a Shadow of some kind, however it is expressed.

Archetypes are very important in understanding the Middle Way, because they allow us to distinguish between meaningful symbols that are found universally (because of their psychic function) and metaphysical ‘truths’. So, in the case of God, for example, the God archetype came first, and is meaningful to us because it represents a psychic function, regardless of whether or not we ‘believe’ in God. Belief or disbelief in God seems to me completely irrelevant to the meaning of the archetype. I think this is what Jung probably meant when he said that he did not believe in God, but that he ‘knew’ God, probably in the sense that he directly encountered God in experience.

After the Buddha, perhaps, I can’t think of any thinker whom I think is quite so rich and rewarding as a source of insights into the Middle Way as Jung. I am not really well-read in later Jungians that others recommend, such as James Hillman, so I must reserve judgement on their value. But whether you read more recent Jungians as well or not, I’d highly recommend going directly to the source. His autobiographical book ‘Memories, dreams, reflections’ is a very good place to start, because it gives you a big picture of Jung the man, and of his rich inner life, as well as of his scientific development.

 

Link to index of posts in the ‘Middle Way Thinkers’ series

Judith Leyster. 1609 – 1660. Self Portrait 1633.

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Judith Leyster was one of two women to be a member of the Haarlem Guild of St.Luke and the only women who became a Master Painter in the period known as the Dutch Golden Age, she was brought to my attention by Amanda Vickery in a television series called Women in Art. Women painters are far fewer in number than male painters and there are several reasons for this, often the question is posed ‘Why are there no great female painters’ I would like to put forward one or two theories of why this is so and ask if you have others. Firstly in the past young men joined art studios and art schools as apprentices, it was not considered fitting for  women to do so, students learnt the necessary skills over many years, while  most young women were expected to marry and raise a family, needlework such as making samplers or doing embroidery was acceptable and  being skilled at drawing botanical illustrations was a popular pursuit also amateur artists and young people from wealthy backgrounds were able to undertake lessons from a tutor at home. There were a few voices who commented on the place of women such as John Stuart Mill who wrote ‘ The subjection of women to me, being a universal custom, any departure from it quite naturally appears unnatural.’  And so we see artists traditionally trained in the studio system and it was male dominated,  gallery owners also denied women a space to exhibit.

Secondly, a popular view was that a ‘divine creator’ provided the creativity and imagination required in a literal way, I think many considered such inspiration to be a male phenomena, although there are exceptions such as reclusive nuns who often reached heights of the sublime. The artist who was a misfit or social outcast was also seen as special, these reasons may well have been a factor driving the person onward, if we study a Van Gough painting for example, we find an intensity, an energy. Thirdly, without doubt it is very difficult to combine being a mother who provides her children with emotional and physical security with being a dedicated painter or any art form, compromises will need to be made, a middle way sought. Women cannot be equal in all ways, physically is an example, we are not as strong and we bear the offspring, but what women would like is the freedom to make informed choices and we are fortunate to live in a society that is on the whole equal.  I do not know why Judith Leyster painted very little after the birth of their five children, she will have grieved for those who did not survive, perhaps it was a conscious decision or ill health may have been the cause, she died in her fifties.

Lastly there is this idea of the artist as being a  ‘genius’ but few men or women are born geniuses, I know I have been heard to say he/she is a genius when I mean someone extra talented, and there are child prodigies of course.  A certain kind of intelligent curiousity  is required,  it is usually an incremental process,  encouragement from the artist’s family may have an influence also there is a saying ‘it’s in the genes’referring to shared family traits, I do not know what truth there is in the statement, if artistic creativity surrounds the young person it may well leave an impression, some succeed in spite of opposition.

Judith Leyster was the eighth child in the family, her father was a brewer and cloth maker until he ventured into a coffee house business which made him bankrupt, Judith may have sold paintings to help the family finances, The family moved to Utrecht where Judith Leyster set up a studio in 1633 where she employed three male apprentices, unusual for the time, that is when this self portrait was painted, she married a painter, Jan Miense Molenier in 1636. Judith gave up painting after her children were born except for two known works, an illustration for a book about tulips, published in 1643 and a portrait in 1652. The painting above painted in 1633 ensured her reputation, she may have been a student of Hals, her work has certain qualities that he had but she was not an imitator of his work.  A self portrait is revealing, it gives identity as an artist, here we see her holding the paint brush, it is not set aside on a table, we see she is working, she paints in the Dutch tradition, she had no wish to be controversial, her head is turned away from the easle, her subjects were often musicians, she meets our gaze, it is a proud look, not provocative though, she is dressed in the fine clothes of the Dutch middle class to symbolically show us her social and economic status, – a painter would usually wear a smock,  her pose is informal, she is at ease, the arm holding the paint brush rests on the arm of the chair, she seems relaxed, confident.

The use of paint among professional artists is on the decline, that may change, many women and men with time on their hands paint for pleasure, it is not hard to find art classes  in many locations around the country for them to join.

 

The image is from Wikipedia Commons.

The MWS Podcast: Episode 24, Paul Teed on the study of history

In this latest member profile, Paul Teed a professor of history at Saginaw Valley State University tells us why he joined the society, what history means to him and why it matters. We also discuss objectivity, how to critically assess history, what he thinks of the film ‘12 years a slave’, the importance of ‘telling a story’ and how all this relates to his understanding of the Middle Way.


MWS Podcast 24: Paul Teed as audio only:
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