(5) The Analytic Process (pages 85-100)
(6) The Development of the Personality (pages 100-127)
(7) Men and Women (pages 127-136)
(8) Jung and Culture (pages 137-147)
(9) The Problem of Opposites (pages 147-158)
(10) East and West (pages 158-169)
(11) Religious Experience and God (pages 170-205)
(12) Good and Evil (pages 206-217)
(13) Body and Soul (pages 217-226)
(14) Creativity and Imagination (pages 226-246)
(15) Alchemical Transformation (pages 247-259)
(16) On Life (pages 259-282)
(17) The Individuation Process (pages 283-299)
(18) Death, Afterlife, and Rebirth (pages 299-317)
Because a brief bibliographic citation appears after each quotation, it is possible to consult the index for page references for quotes from each bibliographic source. As we might expect, The Red Book: Liber Novus (2009) and Mysterium Conjunctionis (German orig. ed., 1955 and 1956) are frequently quoted, as are the two volumes of Jung's 1,600-page commentary titled Nietzsche's Zarathustra : Notes of the Seminar Given in 1934-1939 by C. G. Jung, edited by James L. Jarrett (Princeton University Press, 1988), the transcript of a seminar that Jung gave, and the two-volumes of Jung's 1,450-page commentary titled Visions: Notes of the Seminar Given in 1930-1934 by C. G. Jung, edited by Claire Douglas (Princeton University Press, 1997), the transcript of a seminar that Jung gave based on the young American woman Christiana Morgan's paintings of her visions using active imagination under Jung's direction. Some of her paintings appear in the two volumes.
Like the young Antonia ("Toni") Wolff (1888-1953), discussed below, when she was Jung's patient, before his break with Sigmund Freud in 1913, discussed below, the young Christiana Morgan (1897-1967) had been suffering from depression when she became Jung's patient in 1926 (but her active-imagination visions continued a bit into 1927). She turned out to have a knack for doing active imagination. Because she had had professional training as an artist, her paintings of her imaginative experiences are vivid. Jung urged her to make her painting as a way to process the materials she had received from the collective unconscious (in Jung terminology), because he himself had made paintings of the materials he had received, which are now available for all of us to see in The Red Book: Liber Novus (2009).
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