Goya Saturn And Melancholy

In Monsters of Our Own Making, Marina Warner explores the dark realm where ogres devour children and bogeymen haunt the night. She considers the enduring presence and popularity of male figures of terror, establishing their origins in mythology and their current relation to ideas about sexuality and power, youth and age.

Self-individualization has been interpreted as the process in which the all-embracing Self unfolds into an infinite variety of different individ uals, plants, animals and men. A comparison of the different ways in which the Self manifests itself in the biological and psychological devel opmental processes, or in a visionary image of the undivided Self, reveals the same basic structure of expression. The Self, the one, is represented by a circular domain, and comprises a basic inner duality, the two, creating a paradox of conflicting opposites. In the undivided Self the two give rise to a trinity in which, however, a quatemity is hidden. The latter expresses itself in this world as the four basic forces, the four Elements or the four main archetypes, specifying the possibilities or development in space and time. Self-individualization starts with the first appearance of a primary structure of an individual sub-Self. This is the fifth basic force, the fifth Element. Further development is character ized by four generative principles: 1st, the principle of wholeness: connection and integration (being oriented to remaining whole or restoring wholeness); 2nd, the principle of complementarity and com pensation (a periodic shift between opposing influences); 3rd, the enstructuring principle (causing the relative stability of the spatial appear ance of the manifest structure), and 4th, the principle of gesture (resulting in a gradual stepwise development of that structure into a full-grown individual).

In a facinating excursion though the history of her myth, Seigmund Hurwitz presents and interprets the ancient dark-winged goddess Lilth, aslo know as the first Eve. The authors extraoridnary meticulous study of the original sources brings to light a stiking figure long lost from our awareness, yet highly relevant to a psychological understanding of today's evolving masculine and feminine identities. Case material from his analytical practice imbeds Lilith in the everyday problems of contemporary life. That an unbridled life-urge which refuses to be assimilated lies behind depression...seems to me to be a new and important discovery. By combining the experience of a comtemporaryman with this historical material, Seigmund Hurwitz sheds new light on both. - From the Foreword by Marie-Louise von Franz

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Francisco de Goya y Lucientes, a Spanish painter, draughtsman, and printmaker, was the most important Spanish artist of the last quarter of the 18th and first quarter of the 19th centuries, serving three generations of Spanish kings. During his six active decades he produced some 700 paintings, 900 drawings, and almost 300 prints, which reflect his rapidly changing world. This fully illustrated Grove Art Essentials title explores the artist's extraordinary and prolific career, which spanned the period from the late Rococo to Romanticism and, at the last, presaged Impressionism. Discover how Francisco de Goya, known by 1801 as the 'Apelles of Spain' has come to be regarded in the centuries since as a major master of international stature and the first 'modern' artist.

The connections between the emergence of modern society and the experience of melancholy are explored through a comprehensive re-examination of Soren Kierkegaard's rich and insightful writings.

This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life. Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the "world turned upside down". Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.