The Absolute Shadow

This book explores Jung’s central concept of shadow from a particular configuration that the author calls "Absolute Shadow," placing it in relation to the idea of destiny as catastrophic. Clinically based and supported by a vast number of therapy cases, the book exemplifies how the Absolute Shadow is a result of the projection of the most fragile and destructive parts of one’s psyche. In some cases, it may cause loss of identity and, through the mechanisms of false/double personality, is bound to result in psychosis. Other aspects of the Shadow, like the intergenerational shadow, are also examined in depth. The Absolute Shadow is the well-informed result of Caramazza’s fifty years of study and clinical experience. It is important reading for Jungian and depth psychologists, as well as for psychoanalytic students, trainees, and clinicians of all schools of thought.

An extensive discussion of false absolutes, culminating in humanism.

From #1 New York Times bestselling author Patricia Briggs comes a fantastical series set in a world where magic is the only thing that stands between humanity and total destruction... Seraph is a Raven mage, and among the last of the Travelers who ensure that the city of Colossae is safe from evil. Unwelcome by those who fear magic, the wizard clans have been decimated by the very people they’ve sworn to protect. But Seraph is spared a similar fate by the ex-soldier Tier—and together they build a life where she is no longer burdened by her people’s responsibility. But now Tier is missing—or dead—and Seraph’s reprieve from her duty is over. Using her magic to discover her husband’s fate, Seraph realizes the prison that holds the evil entity known as Stalker is weakening—and only Seraph can fulfill her ancestors’ oath...

Six of Crows meets Graceling with a dash of Winter is Coming in Katy Rose Pool's second installment of the action-packed and swoon-worthy Age of Darkness series--As the Shadow Rises. "As the Shadow Rises solidifies Katy Rose Pool's status as one of the best fantasy writers of the 21st century." —Popsugar The Last Prophet has been found, yet he sees destruction ahead. In this sequel to the critically-acclaimed There Will Come a Darkness, kingdoms have begun to fall to a doomsday cult, the magical Graced are being persecuted, and an ancient power threatens to break free. But with the world hurtling toward its prophesized end, Anton’s haunting vision reveals the dangerous beginnings of a plan to stop the Age of Darkness. As Jude, Keeper of the Order of the Last Light, returns home in disgrace, his quest to aid the Prophet is complicated by his growing feelings for Anton. Meanwhile, the assassin known as the Pale Hand will stop at nothing to find her undead sister before she dies for good, even if it means letting the world burn. And in Nazirah, Hassan, the kingdom-less Prince, forms a risky pact to try to regain his throne. When the forces of light and darkness collide in the City of Mercy, old wounds are reopened, new alliances are tested, and the end of the world begins. The Age of Darkness trilogy is perfect for fans of Throne of Glass, Children of Blood and Bone, and An Ember in the Ashes. * "Adventurous relic-hunting, mind-blowing twists, budding love, and terrible betrayals feature in this multiple-narrator, character-driven study of power, agency, and identity." —Kirkus Reviews, starred review Praise for There Will Come a Darkness "Reading this intricate YA fantasy, you get the feeling Katy Rose Pool’s plot is always seven steps ahead of you. You’ll want to catch up as quickly as possible." —Refinery 29

Shadows are holes in light. We see them all the time, and sometimes we notice them, but their part in our visual experience of the world is mysterious. In this book, an art historian draws on contemporary cognitive science, eighteenth-century theories of visual perception, and art history to discuss shadows and the visual knowledge they can offer.

Maurice Merleau-Ponty is widely known for his emphasis on embodied perceptual experience. This emphasis initially relied heavily on the positive results of Gestalt psychology in addressing issues in philosophical psychology and philosophy of mind from a phenomenological standpoint. Eventually he transformed this account in light of his investigations in linguistics, aesthetics, and the philosophy of history and institutions. Far less work has been done in addressing his evolving conception of philosophy and how this account influenced more general philosophical issues in epistemology, accounts of rationality, or its status as theoretical discourse. Merleau-Ponty's own contributions to these issues and, in particular, the theoretical status of the phenomenological account that resulted, have provoked varying responses. On the one hand, some commentators have understood his work to be a regional application of Husserl's foundational account of phenomenology. On the other hand, some commentators have questioned whether, in the final analysis, Merleau-Ponty was a phenomenologist at all. In In the Shadow of Phenomenology, Stephen H. Watson offers an in depth analysis of these responses and the complications and development of Merleau-Ponty's position.

In this revealing study, Daisuke Miyao explores "the aesthetics of shadow" in Japanese cinema in the first half of the twentieth century. This term, coined by the production designer Yoshino Nobutaka, refers to the perception that shadows add depth and mystery. Miyao analyzes how this notion became naturalized as the representation of beauty in Japanese films, situating Japanese cinema within transnational film history. He examines the significant roles lighting played in distinguishing the styles of Japanese film from American and European film and the ways that lighting facilitated the formulation of a coherent new Japanese cultural tradition. Miyao discusses the influences of Hollywood and German cinema alongside Japanese Kabuki theater lighting traditions and the emergence of neon commercial lighting during this period. He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.