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Act I, Signature Iii - (1) Born July 26, 1875, Kesswil, Switz

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Act I, Signature Iii - (1) Born July 26, 1875, Kesswil, Switz "... [Newland] had built up within himself a kind of sanctuary in which [Mme Olenska] throned among his secret thoughts and longings. Little by little it became the scene of his real life, of his only rational activities; thither he brought the books he read, the ideas and feelings which nourished him, his judgements and his visions. Outside it, in the scene of his actual life, he moved with a growing sense of unreality and insufficiency, blundering against familiar prejudices and traditional points of view as an absent-minded man goes on bumping into the furniture of his own room." [Edith Wharton, The Age of Innocence (New York: Modern Library, 1999), pp. 256-257]. I - iii - A Quest for Things. Finlay listens to an overture from two in-patients, Raisin and Park, but bugs out before they begin their formal exegesis. Sasha Van Etnabaron, awaiting a sedulous message, is accosted by doxies performing tableaux vivant of Aira Phoebus, avatar of the dawn, and the medieval Princess Margaret of Austria. Soliloquies of the Archangel from the Nicean node Miranda. Aira Phoebus engages a fellow (albeit fallen) lumine, iamin'thelim, at the Sunrise Cage, wherein are displayed tapestries of Hades, and a 13 th century dinner theatre involving the Ptolemaic reconfiguration of the universe. ~ page 37 ~ Jung in 1910.* Jung, Carl Gustav Act I, Signature iii - (1) born July 26, 1875, Kesswil, Switz. died June 6, 1961, Küsnacht Swiss psychiatrist. As a youth he read widely in philosophy and theology. After taking his medical degree (1902), he worked in Zürich with Eugen Bleuler on studies of mental illness. From this research emerged Jung's notion of the complex, or cluster of emotionally charged (and largely unconscious) associations. Between 1907 and 1912 he was Sigmund Freud's close collaborator and most likely successor, but he broke with Freud over the latter's insistence on the sexual basis of neuroses. In the succeeding years he founded the field of analytic psychology, a response to Freud's psychoanalysis. Jung advanced the concepts of the introvert and extrovert personality, archetypes, and the collective unconscious (the pool of human experience passed from generation to generation). He went on to formulate new psychotherapeutic techniques designed to reacquaint the person with his unique “myth” or place in the collective unconscious, as expressed in dream and imagination. Sometimes criticized as disguised religion and for its lack of verifiability, his work has been influential in religion and literature as well as psychiatry. His important works include The Psychology of the Unconscious (1912; revised as Symbols of Transformation ), Psychological Types (1921), Psychology and Religion (1938), and Memories, Dreams, Reflections (1962). *[Image & caption credit and following text courtesy of Wikipedia]: Carl Gustav Jung (German pronunciation: [ˈkaˈˈˈl ˈˈˈstaf ˈjˈŋ]; 26 July 1875 – 6 June 1961) was a Swiss psychiatrist, an influential thinker and the founder of analytical psychology (also known as Jungian psychology). Jung's approach to psychology has been influential in the field of depth psychology and in countercultural movements across the globe. Jung is considered as the first modern psychologist to state that the human psyche is "by nature religious" and to explore it in depth [Dunne, Clare, "Prelude," Carl Jung: Wounded Healer of the Soul: An Illustrated Biography (Continuum International Publishing Group, 2002), pp. 3]. He emphasized understanding the psyche through exploring the worlds of dreams, art, mythology, religion and philosophy. Though not the first to analyze dreams, he has become perhaps the most well known pioneer in the field of dream analysis. Although he was a theoretical psychologist and practicing clinician, much of his life's work was spent exploring other areas, including Eastern and Western philosophy, alchemy, astrology, sociology, as well as literature and the arts. Jung emphasized the importance of balance and harmony. He cautioned that modern people rely too heavily on natural science and logical positivism and would benefit from integrating spirituality and appreciation of unconscious realms. He considered the process of individuation necessary for a person to become whole. This is a psychological process of integrating the conscious with the unconscious while still maintaining conscious autonomy [http://soultherapynow.com/articles/individuation.html]. Individuation was the central concept of analytical psychology [Jung, C. G., Aniela Jaffé, Memories, Dreams, Reflections (New York: Random House, 1965), p. 209)]. Jungian ideas are routinely discussed in part by curriculum of introductory psychology course offerings with most major universities, and although rarely covered by higher level course work, his ideas are discussed further by the Faculty of Humanities [Johnson, Paul, The Renaissance (New York: The Modern Library, 2000), pp. 32–34, 37]. Many pioneering psychological concepts were originally proposed by Jung, including the Archetype, the Collective Unconscious, the Complex, and synchronicity. A popular psychometric instrument, the Myers-Briggs Type Indicator (MBTI), has been principally developed from Jung's theories. Red Book . In 1913, at the age of thirty-eight, Jung experienced a horrible "confrontation with the unconscious." He saw visions and heard voices. He worried at times that he was "menaced by a psychosis" or was "doing a schizophrenia". He decided that it was valuable experience, and in private, he induced hallucinations, or, in his words, "active imaginations." He recorded everything he felt in small journals. Jung began to transcribe his notes into a large, red leather-bound book, on which he worked intermittently for sixteen years [Corbett, Sara, "The Holy Grail of the Unconscious," The New York Times , September 16, 2009]. Jung left no posthumous instructions about the final disposition of what he called the "Red Book". His family eventually moved it into a bank vault in 1984. Sonu Shamdasani, a historian from London, for three years tried to persuade Jung's heirs to have it published, to which they declined every hint of inquiry. As of mid-September 2009, less than two dozen people had seen it. But Ulrich Hoerni, Jung's grandson who manages the Jung archives, decided to publish it. To raise the additional funds needed, the Philemon Foundation was founded [Corbett]." In 2007, two technicians for DigitalFusion, working with the publisher, W. W. Norton & Company, painstakingly scanned one-tenth of a millimeter at a time with a 10,200-pixel scanner. It was published on October 7, 2009 (ISBN 978-0-393-06567-1) in German with "separate English translation along with Shamdasani's introduction and footnotes" at the back of the book, according to Sara Corbett for The New York Times. She wrote, "The book is bombastic, baroque and like so much else about Carl Jung, a willful oddity, synched with an antediluvian and mystical reality [Corbett]." The Rubin Museum of Art in New York City displayed the original Red Book journal, as well as some of Jung's original small journals, from October 7, 2009 to January 25, 2010 [http://www.rmanyc.org/nav/exhibitions/view/308.http://www.rmanyc.org/nav/exh ibitions/view/308]. According to them, "During the period in which he worked on this book Jung developed his principal theories of archetypes, collective unconscious, and the process of individuation." Two-thirds of the pages bear Jung's illuminations of the text [ ibid ]. ~ page 38 ~ mazurka Act I, Signature iii - (2) Polish folk dance in 3/4 time for a circle of couples, characterized by stamping feet and clicking heels, traditionally danced to the music of bagpipes. Originating in Masuria (northeastern Poland) in the 16th century, it became popular at the Polish court and spread to Russia and Germany, reaching England and France by the 1830s. The 50 piano mazurkas by Frédéric Chopin reflected and extended the dance's popularity. It had no set figures and allowed improvisation among its more than 50 different steps. [Following text courtesy of Wikipedia]: The folk origins of the mazurek are two other Polish musical forms—the slow kujawiak, and the fast oberek. The mazurek is always found to have either a triplet, trill, dotted eighth note (quaver) pair, or an ordinary eighth note pair before two quarter notes (crotchets). In the 19th century, the dance became popular in ballrooms in the rest of Europe. The Polish national anthem has a mazurek rhythm but is too slow to be considered a mazurek. There are many Polish editions of the mazurek but the most notable one is the mazurka. In Polish, this musical form is called "mazurek"—a word derived from "mazur," which up to the nineteenth century denoted an inhabitant of Poland's Mazovia region, and which also became the root for "Masuria." In Polish, "mazurka" is actually the genitive and accusative cases of "mazurek." Several classical composers have written mazurkas, with the best known being the 58 composed by Frédéric Chopin for solo piano. Henryk Wieniawski also wrote two for violin with piano (the popular "Obertas", op. 19), and in the 1920s, Karol Szymanowski wrote a set of twenty for piano and finished his composing career with a final pair in 1934. Also, Maria Szymanowska wrote Mazurkas long before Chopin. Chopin first started composing mazurkas in 1825, but his composing did not become serious until 1830, the year of the November Uprising, a Polish rebellion against the Russian government. Chopin continued composing them until 1849, the year of his death. The stylistic and musical characteristics of Chopin’s mazurkas differ from the traditional variety because Chopin in effect created a completely separate and new genre of mazurkas all his own. For example, he used classical techniques in his mazurkas, including counterpoint and fugues [Charles Rosen, The Romantic Generation (Cambridge, MA: Harvard University Press, 1995)]. By including more chromaticism and harmony in the mazurkas, he made them more technically interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, so as to distance them from the original form.
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