The Polyimagical Realm I must note that as primarily a painter at the time of composing this work (1986) I was also painting "angels." They were in figure what I have called personatypes and simulated, imitated realities, yet arch¿ and beyond typification (typos) in content. This ambiguity is in fact the subject of this book. The simultaneity of image and immanence is not a problem, except we have no credible concept for simultaneity, or complementarity, and by which ambivalence prevails as the earmark of reality. Now, in the year 2004 it is the least I can say for showing the differences that only analytically repose in mutually exclusive camps, that of C.G. Jung's rigorous and extensive amplification of Freud's Psychoanalytic and the new Post Modern wave of James Hillman's Archetypal Psychology and its polytheistic trimmings. In that case the many gods earn a capital "G" and in contention with the One God. But speaking as both a painter and a poet I can only fall back on an experiential standpoint, something reminded by Plato 2500 years ago in his Ion dialogue: "and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us." Bernard X. Bovasso Spring, 2005
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The Polyimagical Realm I must note that as primarily a painter at the time of composing this work (1986) I was also painting "angels." They were in figure what I have called personatypes and simulated, imitated realities, yet arch¿ and beyond typification (typos) in content. This ambiguity is in fact the subject of this book. The simultaneity of image and immanence is not a problem, except we have no credible concept for simultaneity, or complementarity, and by which ambivalence prevails as the earmark of reality. Now, in the year 2004 it is the least I can say for showing the differences that only analytically repose in mutually exclusive camps, that of C.G. Jung's rigorous and extensive amplification of Freud's Psychoanalytic and the new Post Modern wave of James Hillman's Archetypal Psychology and its polytheistic trimmings. In that case the many gods earn a capital "G" and in contention with the One God. But speaking as both a painter and a poet I can only fall back on an experiential standpoint, something reminded by Plato 2500 years ago in his Ion dialogue: "and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us." Bernard X. Bovasso Spring, 2005
He is essentially a painter of art he calls "The Abstract Sublime" and also a poet. Upon graduating from the Cooper Union Art School he was awarded a fellowship to the Yale University Summer Art School (1950). During 1958 he completed a work concerning Vincent van Gogh according to IT mythogenic aspects. The MS was sent on to Prof. Dr. C. G. Jung in Zurich. Jung turned the book over to Frau Sybil Birkhauser of Berne who was a prot¿g¿ of Dr. Myra von Franz, Dr. Jung gave him a letter of introduction to Sir Herbert Read the British art historian an a correspondence followed both with Frau Birkhauser and Sir Herbert. The germinal concept for this work (The Polyimagical Realm) began during this period and was completed in 1986.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - The Polyimagical Realm I must note that as primarily a painter at the time of composing this work (1986) I was also painting 'angels.' They were in figure what I have called personatypes and simulated, imitated realities, yet archà and beyond typification (typos) in content. This ambiguity is in fact the subject of this book. The simultaneity of image and immanence is not a problem, except we have no credible concept for simultaneity, or complementarity, and by which ambivalence prevails as the earmark of reality. Now, in the year 2004 it is the least I can say for showing the differences that only analytically repose in mutually exclusive camps, that of C.G. Jung's rigorous and extensive amplification of Freud's Psychoanalytic and the new Post Modern wave of James Hillman's Archetypal Psychology and its polytheistic trimmings. In that case the many gods earn a capital 'G' and in contention with the One God. But speaking as both a painter and a poet I can only fall back on an experiential standpoint, something reminded by Plato 2500 years ago in his Ion dialogue: 'and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us.' Bernard X. Bovasso Spring, 2005. N° de réf. du vendeur 9781418499990
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