Journal of Analytical Psychology, 2009, 54, 533544

Book reviews
Edited by Linda Carter and Marcus West
LEWIN, NICHOLAS. Jung on War, Politics and Nazi Germany: Exploring the Theory of Archetypes and the Collective Unconscious. London: Karnac Books, 2009. Pp. 412. Pbk. $59.95 / 24.99. Lewins book has three main parts. Part one historically examines Jung and his politics. The second part discusses the evolution of Jungs theories of the collective unconscious and archetypes; it asks: how well did he construct his theories? Part three considers how he applied his theories in attempting to understand Nazi Germany. The book reaches its climax with what he wrote about the Third Reich. I found the following points in part one particularly interesting and signicant. Lewins survey of Jung and his politics suggests Jung was more politically informed and sophisticated than some critics have stated. Moreover, Lewin sees him becoming more hostile to the Nazis by May 1934. A letter by Jung to Mary Mellon provides corroborating evidence for Lewins view: in it Jung said he challenged the Nazis already in 1934 at a reception in Baron von Schnitzlers house in Frankfurt (Jung to Mellon, 24 September 1945). Lewin believes that before World War II Jung was concerned with attempting to understand and explain events in terms of his theories of the collective unconscious. Jung thought that when individuals are caught in a mass movement such as the Nazi movement, then archetypes begin to function. In part two the author proceeds to examine Jungs collective unconscious and archetype theories which, in his view, contain aws. One is that Jung proposed racial and national layers of the collective unconscious. Another is a mismatch, Lewin says, between Jungs original neo-Lamarckian ideas and his later cultural observations. In Lewins view, although Jung involved cultural, non-inherited inuences on the unconscious in his discussions, he did not reformulate his theories. Lewin regards much evidence that Jung cited for his theories of the collective as due actually to cultural and social factorsnot inherited processes. Part three is, in my opinion, the meat of the book. Lewin states that in the early 1930s despite seeing danger, Jung entertained a hope that archetypes might eventually reinvigorate German society. He retained this hope after the Nazi regime began in 1933 but underestimated the Nazi dangeras, it should be said, did others. Lewin shows that Jung was privately critical of Hitler by 1932 and between 1934 and 1935 became somewhat more critical of the Nazis in public. In addition to Lewins evidence, an unpublished interview of Joseph Henderson in the Harvard Countway Library of Medicine archives in Boston (1968) provides corroborating evidence for Lewins view that Jung became more critical of the Nazis by 193435. Henderson reported that, in an earlier letter to him, Jung had said the Nazi movement might bring something new of value into the world or it might just carry people off to their madness. But when in about 1935 he saw and talked with Jung, Henderson could tell that Jung thought the madness was winning out.
0021-8774/2009/5404/533 2009, The Society of Analytical Psychology

Published by Blackwell Publishing Ltd, 9600 Garsington Road, Oxford OX4 2DQ, UK and 350 Main Street, Malden, MA 02148, USA.

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Lewin suggests that Jung tried to restrain himself regarding criticism of the Nazis so as not to provoke them while he, as President of the General Medical Society for Psychotherapy, attempted to limit the damage they could do to the psychoanalytic profession. Besides this noble reason, however, there is the possibilityindeed, I think the probabilitythat Jung also so acted in order to advance Jungian psychology his psychologyin Germany. Samuels (1993) and Maidenbaum (2002; rpt. 2003) provide evidence and strong arguments for this perspective which is clearly missing from Lewins text. Lewin looks at Jungs application of the Wotan archetype to Nazi Germany as a test case for Jungs theories in the 1930s. He sees Jung mistaking cultural inuences in Germany as evidence and proof for his archetype hypothesis. Jung failed to establish satisfactory evidence or a sound case for a German Wotan archetype. Thus his attempt to use Wotan and Nazi Germany as a case study for his theories failed. Jungs essay Wotan (1936), however, does represent his rejection of his earlier private hope that archetypal pressures could lead to positive changes in Germany. In his analyses of Hitler after Wotan, Jung made some useful observations, but other contemporary observers provided more detailed statements. In a nal chapter Lewin attempts to re-work Jungs archetype theory by using postJungian ideas and meme theory. Lewins book is a scholarly work. He documents it very well. As to style, it is generally well-written. In addition, most chapters include a useful summary at the end. Some chapters contain a number of very short sub-sections for which a judicious pruning and combining might have enhanced readability. I recommend the book to Jungian readers interested in the topics it treats.

References
Henderson, J. (1968). Interview by Gene Nameche. Harvard Countway Library of Medicine. Jung, C. G. (1936/1964). Wotan. CW 10. (24 September 1945). Letter to Mary Mellon. Cited in W. Schoenl (1998), C. G. Jung: His Friendships with Mary Mellon and J. B. Priestley. Wilmette, IL: Chiron. Maidenbaum, A. (Ed.) (2002). Jung and the Shadow of Anti-Semitism. Berwick, ME: Nicolas-Hays, 2003 edn. Samuels, A. (1993). The Political Psyche. London & New York: Routledge.

William Schoenl Michigan State University APPERSON, VIRGINIA & BEEBE, JOHN. The Presence of the Feminine in Film. Newcastle: Cambridge Scholars Publishing. 2008. Pp. xviii+271. Hbk. 39.99. Freuds Studies on Hysteria and the rst motion pictures appeared on the scene contemporaneously in 1895 and since then, psychoanalysis and cinema have existed together in a highly ambiguous but intense love-hate relationship. Not by chance, Freud always insisted on maintaining a critical distance from the world of the cinematic images, distrusting their powerful popular appeal and discounting their signicance for analytical theory and practice, a position largely echoed by Jung who, as Aim Agnel e and Mich` le Petit lament in their editorial to a 1995 edition of the Cahiers Jungiens de e Psychoanalyse dedicated to the Jungian approach to cinema, spoke so little about the cinema, and so negatively. Nevertheless, as Harris and Sklar (1998) note, perhaps no

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other area of cultural theory has been so productive in its utilization of psychoanalysis as has lm studies. Indeed psychoanalysis has provided core concepts for lm theory. In the same way, analysts have become increasingly aware that lm has the potential to enhance and deepen our understanding of analytical theory and practice, for as John Beebe notes, a satisfying movie regularly displays the complexes, archetypes and types of consciousness that make up the phenomenological manifestations of psychological life (p. 241). Given the emphasis on the importance of the image in Jungian theory, it is somewhat surprising that Jungians have, with important exceptions such as Beebe and Hauke & Alister (2001), shown little interest in cinema and equally, that lm studies have ignored the potential relevance of Jungian ideas. It is only recently that the new discipline of Jungian Film Studies has begun to emerge but it is one that is fast expanding and this new book represents a stimulating and original contribution both to lm studies and to clinical practice. John Beebe needs no introduction to anyone interested in cinema and it is a pleasure to nd many of his classical articles brought together in one collection. It is however the collaboration between Beebes profound and passionate knowledge of cinema, and the extraordinary sensibilities of Virginia Apperson that makes this book so vivid. An additional asset is the inclusion of Jane Alexander Stewarts classic essay on the female hero. The book springs from a Jungian Film Festival, held in Birmingham, Alabama, in May 2005 and is an exploration of the ways in which the feminine has been represented in different cinematic contexts. It is paradoxical that although cinema has always been, as Stanley Cavell (1987) claims, from rst to last more interested in the study of individual women than of individual men, all too often the feminine in lms is read only in terms of xed essentialist notions of gendered identity in which masculinity is associated with activity and sadism while femininity is reduced to passivity and masochism. As Robin Woods notes, the dominant images of women in our culture are entirely male created and male controlled. Womens autonomy and independence are denied, onto women men project their own innate repressed femininity in order to disown it as inferior (Wood 2002, p. 27). This book with its fascinating bricolage of lms that range from classical Hollywood movies right through to the work of New Expressionist directors such as Guy Maddin, argues that cinema has the potential to offer us different and more positive images of the feminine, essential if we are to establish a more satisfactory connection to her. The feminine here however is not tied to any single sex or gender but is seen rather as a different kind of sensibility, a different way of looking at and experiencing the world. As Beebe puts it, particular movies. . .establish a presence of the feminine in lm that goes well beyond both the depiction of womens lives and the fantasies men have about women (p. xviii). At a time when psychoanalytically orientated lm studies have come under increasing attack because of their universalizing reductive approach, lm academics are becoming more open to the possible contributions Jungian theory might offer to lm studies. As Cynthia Freeland suggests, Jungians with their theory of universal unconscious archetypal structures might pay more attention to cross-cultural considerations in lms, or to lms links to various kinds of fairy tales and myths (Freeland 1996, p. 200). Similarly John Izod argues that the Jungian method of amplication, which stresses the intertextual nature of all cultural artifacts, is particularly adapted to identify and explicate some of the undercurrents of collective feeling that electrify those movies which audiences accept (whether they verbalize the experience in such terms as not) as the shaping myths of our time (Izod 2001, p. 8).

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The usefulness of such an approach is exemplied in the way in which the authors trace out and amplify the central images expressing the collective myth with which the directors of the various lms are attempting to engage. We can see this in Beebes analysis of Hitchcocks Marnie where he suggests that the archetype is nally not so much an image but a narrative, an archetypal story. Refusing the classical approach to this lm, which tends to collapse the narrative into what Kaplan (1990, p. 217) calls, a simplistic and reductive Freudian scheme of revelation of the trauma followed by the instant catharsis and cure, Beebe identies the central narrative as Demeters transformation into something abject, something perverse and monstrous . . . the warping of the mother archetype that produces the monstrous mother of contemporary fantasy (p. 125), an interpretation echoed in Appersons reading of The Wide Sargasso Sea in which Berthas madness is linked to the cultural negative mother complex. If cinema is increasingly the place where we go to become aware of our cultural complexes, this means that it is also important for analysts to pay attention to what certain lms can reveal to us, especially about the difculties inherent in patriarchal culture in giving voice to the Feminine. It has almost become a clich to describe lms as the collective dreams or nightmares e of a society but as John Beebe has been arguing over the past three decades, in its way of engaging the unconscious, lm is analogous not to dreams but to active imagination for in the work of auteur lmmakers, one can see the visionary artist engaged in imaginal dialogue with the materials of collective lm the genres, the stars and the formula stories (p. 123). This kind of approach to lm insists on the importance of the emotional and intuitive response of the interpreter, if the lmic textual analysis is to avoid a facile reductionism. It is undoubtedly one of the strong points of this book that in all the many lms discussed, what comes across most vividly is the way in which the authors use their emotions and intuitions to deepen the level of interpretation for, as Jungians should know, symbolic material can never be reduced to one master reading. Particularly interesting is the way in which the readings of the two authors complement each other in the chapters dedicated to Monsoon Wedding and Letter to an Unknown Woman. If Beebes reading of Letter to an Unknown Woman stresses the opposing sensibilities of masculine and feminine and the fate of the masculine characters when they are unable to trust the anima or appreciate her capacity for relationship, it is Appersons emotional reactions as a woman, the maddening, frightening, haunting feelings evoked in her by Lisas lack of substance, that allow her to trace out the tragic consequences for men and women of the unimaginative and unregenerate patriarchal programming that has set up Lisa for a life of invisibility (p. 220). As the authors argue, As long as the feminine is reduced and limited to an anima role, some aspects of her identity will remain poorly differentiated and only partially expressed and the masculine who needs her will stay untransformed (p. 220). If Ophuls lm falls into the category of what Cavell has called the melodrama of the unknown woman and represents the failure of the relationship between feminine and masculine, Monsoon Wedding by the Indian director Mira Nair, is an example of the comedy of remarriage which, as Cavell remarks, has to do with the task of overcoming the taint of villainy inherent in marriage itself, a taint linked to the way in which male gender is construed in our culture. As both authors bring out in their different ways, if there is to be a passage from a failed coniunctio to a more permanent and satisfactory one, it is essential that all the characters come to terms with the sadism and violence associated with patriarchal maleness through their integration of the feminine. This very readable and enjoyable book is essential reading for all those interested in cinema and in the feminine, but it is also a good example of the kind of original

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approach that Jungian theory has to offer to lm studies. I would highly recommend it if for no other reason than it really makes you want to see, or see again, the lms themselves.

References
Cavell, S. (1987). The melodrama of the unknown woman. In The Trial(s) of Psychoanalysis, ed. Francoise Meltzer. London & Chicago: Chicago University Press. Freeland, C. (1996). Feminist Frameworks for Horror Films. In Post-Theory: Reconstructing Film Studies, eds. David Bordwell & Noel Carroll. Wisconsin: Wisconsin University Press. Harris, A. & Sklar, R. (1998). Wild lm theory, Wild lm analysis. Psychoanalytic Inquiry, 18, 22237. Hauke, C. & Alister, I. (2001). Jung and Film: Post-Jungian Takes on the Moving Image. Hove: Brunner-Routledge. Izod, J. (2001). Myth, Mind and the Screen. Cambridge: Cambridge University Press. Kaplan, E.A. (1990). Psychoanalysis and Cinema. New York & London: Routledge. Wood, R. (2002). The American nightmare: horror in the 70s. In Horror, The Film Reader, ed. Mark Jancovich. London & New York: Routledge.

Angela Connolly Centro Italiano di Psicologia Analytica MATHERS, DALE (ED.). Vision and Supervision: Jungian and Post-Jungian Perspectives. London & New York: Routledge, 2009. Pp. xiv + 202. Pbk. 21.99. Since pioneering courses were established in the eighties, supervision training has become an important part of a therapists CPD (Continuing Professional Development), portfolio, an adjunct to a therapeutic training, focusing on additional but essential skills and theoretical tools, such as the ability to move from a two to a three person relationship, extending the model of countertransference, the ability to use the reection process, and establishing necessary professional boundaries for supervisory work to be undertaken in a variety of settings. Supervision, long established as an essential element in training, now occupies a central position as part of the professional therapists working discipline. The expansion in training has stimulated a growth in supervision literature of which this book, based on seminars organized by the Association of Jungian Analysts, London, is the latest. The book claims impartiality within Jungian theory; the editor, Dale Mathers, describing the authors as a group of Jungian analysts, artists and craftsmen, who offer counselling, therapy, analysis and supervision. The book is divided into three sections and each section contains some of what I would regard as core curriculum for analytic supervision training. Jean Stokes and Fiona Palmer Barnes write interestingly and thoroughly on boundaries and ethics. Martin Stone uses the concept of individuation to open up the vexed question of the therapeutic quality of supervision, in particular the discussion of the supervisees countertransference and the extent to which supervision should engage with the supervisees affective inner world. Stone appeals for an extension of the dialectic process of analysis into the supervisory triad, suggesting that the individuation process, woven into the analytic encounter, could be extended to include the three participants in the supervisory process. Stones chapter includes a section on the matching of

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supervisee/supervisor/institution which embraces a succinct overview of typology. Jack Bierschenk complements this with a chapter on transference and countertransference. He contrasts the phenomenon of de-facilitation: prevailing attitudes of practice creating difculties both for the supervisee and supervisor, attitudes that can be questioned and consequently deconstructed with an attitude of facilitation that promotes dialogue, growth and the spirit of enquiry. James Bamber writes about the inuence of institutions, including weighing up the advantages and disadvantages of group supervision. Begum Maitra, sensitively, and very much from the inside, writes about multi-culturalism, and Gottfried Heuer contributes towards an understanding of the complexities of the parallel process, drawing on insights gained from quantum physics and neurobiological theory. The other chapters offer complementary material. Dale Mathers deconstructs difcult as in difcult patient. Many supervisors presented with a hopeful I have this really difcult patient. . . from a supervisee will nd much that is useful in his contribution; Carola Mathers contributes some creative thinking about symbols, dreams and transformation encouraging readers to resist regressing to concrete forms . . . work[ing] towards individuation and [to] living the symbolic life. She includes consideration of gaps in the supervisory frame, be they gifts, pets, or dreams, all of which she suggests can be used to facilitate and enrich unconscious communication. Richard Wainwright reects on other forms of non-verbal communication within the supervisory dyad. These include the luggage that accompanies (sometimes literally) the supervisee into the session, together with notes (or lack of them), both elements which build up a picture of the combined inner world of the supervisee and patient. Finally Keven Hall contributes a summary chapter describing how the heart of supervision is not, as Murray Stein in the foreword perceptively suggests, in superego-ism but is a means by which an individual therapist nds a deep and abiding connection to community and tradition and through this their own professional identity and creativity. Whilst reading this book I was constantly reminded of a quotation from James Hillmans The Dream and the Underworld in which he suggests that if we are to revision the dream it will require tilling the same eld worked by Freud and Jungtheir eld as it were, but turning their soil in our style (Hillman 1979, p. 6). In this book a group of experienced practitioners re-vision the core elements of supervision practice. In doing so they inevitably till soil that has been well worked by others, but create through this process interesting newly ploughed furrows. Despite some opaqueness in places in the textual style, the book is sensitively written in a spirit of enquiry and contributes towards the individuation process in supervision. Edward Martin Society of Analytical Psychology ROWLAND, SUSAN (ED.). Psyche and the Arts: Jungian Approaches to Music, Architecture, Literature, Painting and Film. London & New York: Routledge, 2008. Pp. xi + 197. Pbk. 21.99 / $34.95. This book contains a number of remarkable essays (presented at the rst conference of the International Association of Jungian Studies in 2006), including the introduction by editor Susan Rowland. These essays make important use of Jungs psychology in their exploration of the psychic interiority of art as well as offering a renewed and numinous space for the making, appreciation and criticism of art in our time (p. 1).

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Rowland speaks of the doubleness of Jungs approach to the psyche in relationship to artthat his theories can be understood as both embedded and structural. On one hand, his psychology does not subsume art into its own categories. Art is other and cannot be reduced to Jungian ideas (Jung 1922, paras. 99100). On the other hand, the unconscious is by nature creative, in part unknowable, and . . . this undermines any other secure knowledge (Jung 1954, para. 358). Since concepts do not have anything outside to stand upon, Jung admits that his ideas are embedded in his own personality, history and twentieth-century European culture (p. 2). In contrast, Rowland understands the structural component of Jungs psychology as oppositional pairs of concepts that make psychic events comprehensible. She outlines the dening pair of opposites as conscious/unconscious along with the moral opposition of ego versus shadow, the gender opposition of anima/animus versus the ego, and the transcendent opposition of the ego versus the self. It is the task of psyche to convert psychic opposition into a dynamic living relationship. Jung called that task individuation. Rowland also illustrates how Jungian theory can be understood by arts criticism as both immanent and transcendent. She gives a delightful example of this understanding in the instance of an artist who left two huge snowballs in a busy London thoroughfare in August. Beginning as transcendent objectssnow in Augustthe snowballs gently submit to nature by melting into immanent natural puddles. Rowland proposes that Jungian concepts provide a dialogical strategy between transcendent conceptual thinking and immediate embodied psychic experiencetelling a story about being that is both indivisible from historical and cultural contexts yet never reducible to it (p. 2). David Parkers On Painting, Substance and Psyche is an extraordinary essay that explores the unique bond between material substance and psychological processes embedded within painting and alchemy. Parker, a painter, conveys how transformative experiences for the painter/alchemist are embedded and informed by responses to physical engagement with the materials of their craft. In other words, the body of the practitioner knows instinctively through physical sensation and empathy for the materiality of their medium when what is happening is revealing a psychologically signicant meaningeven though this meaning cannot be consciously assimilated (p. 46). Parker observes that Jung has the tendency to neglect or overlook these aesthetic/transformative responses in the artist/alchemist in favour of making psychological interpretations attached mainly to gurative or representational forms of symbolic expression. He points out that the creative transformations central to painting and alchemy are essentially therapeutic activities in the sense that they both mediate and manifest through matter an imaginative interchange between conscious and unconscious processes. Craig Stephenson makes use of Jungs concept of possession in his reading of John Cassavetes lm, Opening Night. His essay, How Myrtle Gordon Addresses Her Suffering, proffers a reading of the lm that is other than those of major lm critics and even the lmmaker. Stephenson states that Jungs concept of possession assigns an ontological reality to split off autonomous complexes as unembodied spirits, as unconscious Other, equal to the reality of the suffering, possessed egoidentity (p. 79). The possibility for healing therefore goes beyond the task of making repressed material available for incarnation into ego consciousness. Rather, it requires conscious differentiation from and relationship to the Other that both acknowledges and depotentiates the complex within the vessel of the therapeutic relationship. Stephenson applies this understanding of possession to the lms protagonist, Myrtle (Gena Rowlands), who portrays an actress caught in a play in which her character is tyrannized between two gures: an older womans version of the feminine with

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no hope and that of possession by the ghostly unlived potential of a seventeen year old girl (who was run over by a car at the beginning of the lm). The possibility of healing for the lms protagonist is located in her capacity to put her suffering into the vessel of the play and to ght for the integrity of her character within the play. It is Stephensons opinion that the nal image of the lm portrays Myrtle, the actor in the play, and Dorothy, the observer of the play, balanced precariously for a moment of self-possession in a seat of embodied selfhood (p. 85). Don Fredericksens essay, Stripping Bare the Images, challenges Jung and Jungians of all denominations against taking every image as symbolic, confusing signs for symbols. This mistaking of all images as symbolic results in iconophilia, a term he coins to describe the occupation of the symbolic by the semioticthe unknown by the known. As a corrective to this semiotic occupation, Fredericksen places the appearance of the living symbol as an experience of arrest [awe] infused with wonder (p. 102). He relates the living symbol with the experience of being in the wildernessas an instrument for enabling us to recover our lost capacity for religious experience (van der Post 1985, p. 48). The essays I have cited can be said to have met the challenge to Jungian criticism issued by Terence Dawson: to make use of Jungian theory to produce readings that could not be generated by any other approach (Dawson 2005, p. 193 cited by Stephenson, p. 77). This is also true of a number of other essays, including those by Angela Connolly and Dawson himself as well as those by Elenice Giosa, Lee Robbins and Claudio Paixao Anastacio DePaula that promote the incorporation of the symbolic imagination within education. Space does not permit an appreciation of all the worthy essays in this book. As with all edited volumes, specic choices within the range of topics depend upon the interests of the reader. I have highlighted those that held my particular interest (based in my experience as a visual artist and as an analyst working with artists). I believe the essays in this book have much to contribute to the interface between Jungian concepts and the practice, appreciation and assessment of the creative arts.

References
Dawson, T. (2005). Review of Post-Jungian Criticism: Theory and Practice. Harvest 51, 2, 19093. Cited by Stephenson in Psyche and the Arts: Jungian Approaches to Music, Architecture, Literature, Painting and Film, ed. S. Rowland, 77. Jung, C. G. (1922/1966). On the relation of analytical psychology to poetry. CW 15. (1954). The Structure and Dynamics of the Psyche. CW 8. Van Der Post, L. (1985). Wilderness A way of truth. In C. A. Meiers A Testament to the Wilderness. Zurich: Daimon Verlag.

Mary Dougherty Chicago Society of Jungian Analysts

E e LIARD, V RONIQUE. Carl Gustav Jung, Kulturphilosoph. Paris: Presses de lUniversit Paris-Sorbonne, 2007. Pp. 297. Pbk. 32.00.

The cover of V ronique Liards study features a close-up of Arnold Bocklins famous e painting, The Isle of the Dead (18801886), of which ve different versions exist (the one in question here is the third [1883], displayed in the Alte Nationalgalerie in Berlin). Although Bocklins masterpieces were produced in the 1880s, they and many of his

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other works could well representas his Sacred Grove (1886) did for Thomas Mann a world of values and ideas that can be summed up in one word: Kultur. As the title of her book suggests, Liard proposes to examine Jungs work in the light of his status as a Kulturphilosoph, and thus from an unusual angle (p. 15). If Kulturkritik, a term in perhaps more current use, concerns itself with the (mis)match between cultural praxis and human socio-economic relations, then Kulturphilosophie investigates the general conditions that give rise to culture(s), and it is in this richer, broader sense that Liard understands the concept. For she denes Kulturphilosophie as a reection on cultural objects that can start from, say, a philosophical, psychological, historical, or sociological analysis, often in order to evolve a critique and to open up possible future perspectives or to formulate suggestions for improvement (p. 17). Although Jung himself frequently maintained that he was an empiricist (cf. pp. 18, 140, 271), and only reluctantly accepted the label of philosopher in the ancient sense of lover of wisdom (cf. p. 72), any reader of his works knows that his thought involves a number of methodological assumptionsas, when he was being frank, Jung himself was prepared to admit. Liard sets out a persuasive argument for seeing Jung in his intellectual context, one formed and shaped by such contemporary thinkers as Georg Simmel (in his The Concept and the Tragedy of Culture [1911]), Freud (in Civilization and its Discontents [1930]) and Ernst Cassirer (in his Essay on Man [1944]) (pp. 2627). For Jung, civilization is essentially founded on the twin pillars of agriculture and viticulture (cf. p. 28; Jung 1942/1954, para. 382) but, as he explained in his Eranos lecture on the transformation symbolism of the mass, bread and wine are also symbols, working on at least four different levels of meaning (ibid, para. 385). His analysis of the cultural crisis in the modern world was correspondingly complex, if astonishingly open-ended: for him, ratio was the source of the decline of cultures and civilizations, because rationalism claims to have an answer for everything (p. 37). As Liard realizes, Jungs Kulturphilosophie did not spring from nowhere. Born in an era of growing atheism, increasing nihilism, and ubiquitous materialism, Jung underwent his formative years at a time when positivism, neo-Kantianism, and phenomenology were in the ascendant (pp. 25659). During his time at school, Jung came to see Goethebecause of his engagement in Faust with the problem of evilas nothing less than a prophet (cf. p. 47; Jung/Jaff 1963, p. 79), and Schopenhauer proved to be the great nd of Jungs e e late teen years, when he was reading up on philosophy (cf. p. 165; Jung/Jaff , p. 88). Later, at university, the gure of Nietzsche was to assume central importance (pp. 173 96, 26465). Yet where in the philosophical tradition is one supposed to situate Jung himself? In relation to the epistemological and pedagogical debates of the seventeenth and eighteenth centuries, then Descartes, Spinoza, Leibniz, Rousseau, and Kant are all names, as Liard observes (p. 123; cf. p. 263), that one nds in Jungs writings (although not as frequently as one might perhaps expect). On the need to listen to our inner voice, Rousseau, Kant, and Jung are in agreement, although each interprets the nature of this voice differently: for Rousseau, it is our conscience; for Kant, it is reason; for Jung, the unconscious (p. 139). On the other hand, Jung was coy about his relation to Romanticism, and Liard wonders if Jung really remained faithful to his Kantian principles, or whetheras she rightly suspectshe was seduced by Romantic concepts (p. 141). (One might see Jungs struggle to formulate his notion of synchronicity as a case in point.) Liard adroitly puts her nger on exactly the spot where the trouble lies: Jungs problem, she writes, is that he had a Romantic conception without wanting to abandon the Kantian ban on knowing the thing-in-itself (p. 150).

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Romanticism, in its turn, provides a helpful context for Jungs view of the nation. If Jungs primary aim was to convince his contemporaries of the need for a knowledge of ones self (just as the Romantics had taught), and thus of the need for individuation, it is also the case that, in the longer term, his goal was a world of eternal peace, modelled by Kant and inuenced by the Romantics, in which individuals would live with respect for themselves and for others; a vision, Liard concedes, that is just as utopian as it is in the case of the Romantics (pp. 15758). There are other links between Jung and Romanticism, too: Liard offers an insightful comparison of Jungs essay Woman in Europe (1927) with Schlegels novel Lucinde (1799) (pp. 15860); Jungs theory of artistic creativity turns out to have much in common with Schellings (pp. 16162); and Jung himself cites such gures as Carl August Eschenmeyer, Gotthilf Heinrich von Schubert, Justinus Kerner, and Johann Wilhelm Ritter (pp. 16465); not for nothing, then, has Jung been called perhaps the last representative of Romantic Naturphilosophie (Faivre 1995, p. 17; cf. p. 165). Jungs thought, however, transcends the conventional framework of the classicalRomantic dichotomy, as becomes clear when Liard examines, at length and in remarkably clear detail, his attitude towards religion, his critique of science and technology, and his political theory. Not the least of the originality of Liards research resides in the links she draws in the nal section of her study between Jung and such cultural-philosophical giants as Karl Jaspers, Sigmund Freud, Ernst Cassirer, Oswald Spengler, Leopold Ziegler, and Hermann Keyserling. Now, not all of these names are untainted, but Liards approach is refreshingly non-judgmental. In particular, she is expert at teasing out the afnities and the differences between Jung and this body of thinkers (pp. 201, 22627, 23234, 239245, 25153); highlighting, for instance, Cassirers and Jungs shared interest in the symbol, while contrasting Jungs concern with its libidinal and archetypal origins with Cassirers consideration of its functions; or opposing the omnipresence of death in Spenglers (pessimistic) thought to the (energic) optimism of Jungs writings. These pages open up a number of signicant avenues for future research into Jung. In fact, while reading Liards book one suddenly becomes aware of how Jung forms part of an intellectual world that has, in some respects, all but disappeared from view. Yet, as her careful research also demonstrates, this world is one that can be recovered, reconstructed, and made viable again by reading its constitutive texts with the kind of attentiveness and insight she demonstrates throughout the pages of this important study. One might recall that Bocklin, after his ve versions of The Isle of the Dead, went on in 1888 to complete another painting called The Isle of Life; and V ronique e Liards study succeeds, above all, in demonstrating the perennial vitality of Jungs cultural-philosophical thought.

References
Faivre, A. (1995). Philosophie de la Nature: Physique sacr e et th osophie XVIIIe-XIXe e e si` cles. Paris: Albin Michel. e Jung, C.G. (1942/1954). Transformation symbolism in the mass. CW 11, paras. 296 448. (1963). Memories, Dreams, Reflections, tr. R. & C. Winston; ed. Aniela Jaff . e London: Collins/Routledge & Kegan Paul.

Paul Bishop University of Glasgow

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GIANNINI, JOHN. L. Compass of the Soul: Archetypal Guides to a Fuller Life. Gainesville, Florida: Center for Applications of Psychological Type, 2004. Pp. xxv + 597. Pbk. $29.95. As John Beebe states in his foreword, the central task of this substantial volume is to update Jungs project for a contemporary audience. For Giannini, this involves demonstrating the archetypal value of Jungian typology individually, professionally, and more generally in society. He aims to move typology out of the shadows and into depth psychology. Giannini begins at the nishing point of Psychological Types (1921), in which Jung described the two attitudes of Introversion and Extraversion and the four functions of Thinking (T), Feeling (F), Intuition (N) and Sensation (S). Although the notion of type as archetype was implicit, Jung never systematically explored the connection. Giannini attributes this omission to Jungs personal typology: as an NT Ethereal he was too unsystematic to follow through his understanding of typology as archetypal pattern. Giannini plumbs the depths of typology, endeavouring to substantiate an archetypal substratum that justies the description of typology as the Compass of the Soul. When we hear a description of our typology, we feel in a deep way that something substantial in our Soul has been touched, a feeling described by Jung as numinal accent. The author offers a thorough and detailed history of typology including the development of the Myers-Briggs Type Indicator, comparing this with other statistical measurements of type. He is particularly appreciative of Isabel Myers for placing at centre stage the type couplings of dominant and auxiliary functions by identifying them as universal patterns of human differences. Giannini arranges these function couplings similarly to Jungs individual functions, with a dominant, auxiliary, second auxiliary and inferior coupling. His theory is supported by clinical examples of couplings and illustrated throughout by circular type diagrams, which Mary McCaulley, who contributes to the preface, calls circumplexes. These diagrams become three dimensional and more or less complex as type and couplings are linked with intrapsychic and external variables. Giannini considers the couplings as embracing every aspect of Jungs system, especially the individuation process, and attributes the decoupling of typology from individuation to a lack of recognition of archetypal processes in typology by Jung and his followers. The book might be described as a treatise on connections. Giannini regards typology as central to the entire Jungian enterprise. With missionary zeal he rues the schism in the Jungian family between typologists and the Jungian analysts whom they outnumber. The author himself stands in both camps. Neither side is privileged: analysts, including Jung in his later writing, are accused of elitism in downgrading typology to a supercial classication of consciousness, whereas typologists, particularly those using the MBTI who ground archetypal images in everyday life, are seen as narrowly pragmatic and ignorant of the bulk of Jungian theory. The dominant/auxiliary function couplings are not only presented as a bridge between analysts and typologists, but also as essentially connected to Taoism, alchemy, Native American medicine, to brain functioning and to child development. The wideranging scope of the book makes it readable, interesting and often exciting. I found myself unwittingly connecting the couplings to various of my own preoccupations along the clinical theoretical continuum. This must be a praiseworthy aspect of both content and style of writing. The nal section of the book is devoted to the function couplings in society. Analysts are identied as generally having an introverted intuitive orientation that creates a

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serious bias against the outer world. Typically, they concentrate on the individual and on broad cultural concerns. Typologists ll the middle ground, being described as more practical and able to see the impact of individuals on society. Giannini characterizes western patriarchal society, particularly America, as dominated by an ESTJ archetype in its history, patterns, functions and values. This dominant social archetype produces a mean-spirited, touch-minded Warrior mentality that distorts individual growth and encourages domination of the weak and powerless. Although sometimes bordering on the evangelical, the author does not adopt a fundamentalist approach to typology. He encourages the reader to look again at a familiar landscape through a typological window and to leave that window open. Fiona Ross Society of Analytical Psychology