The word ‘archaic’ derives from the Greek arkhaios, which in turn is related to the word archē, meaning ‘principle’, ‘origin’, or ‘cause’; the notion of ecstasy, or ekstasis, implies standing outside or beyond oneself, a self-transcendence. How these two concepts are articulated and co-implicated constitutes the core question underlying this edited collection, which examines both the present day and antiquity in order to trace the insistent presence of the ecstatic amid the archaic. Presented in three parts, the contributors to this diverse book take the concept of the archaic in an entirely new direction. Part I, 'Ecstasy and the psychological', covers topics including Jung, Freud, ancient psychotherapy, desire, and theatre. Part II, 'Ecstatic-archaic history', considers Ludwig Klages, Orestes and Dionysus. Finally, Part III, 'Ancient ecstatic in other worlds', examines Luo Guanzhong’s Three Kingdoms and Enki at Eridu. The collection offers a distinctive contextualisation of the dimension of the archaic in relation to the ecstatic experience. The Ecstatic and the Archaic will appeal to readers interested in the relationship between ancient and postmodern worlds, and in how the past manifests itself in the present. It will be of great interest to academics and students of Jungian and post-Jungian ideas, classical religions and the history of ideas, as well as practitioners of analytical psychology and psychoanalysis.

For millennia, people have universally engaged in ecstatic experience as an essential element in ritual practice, spiritual belief and cultural identification. This volume offers the first systematic investigation of its myriad roles and manifestations in the ancient Mediterranean and Near East. The twenty-nine contributors represent a broad range of scholarly disciplines, seeking answers to fundamental questions regarding the patterns and commonalities of this vital aspect of the past. How was the experience construed and by what means was it achieved? Who was involved? Where and when were rites carried out? How was it reflected in pictorial arts and written records? What was its relation to other components of the sociocultural compact? In proposing responses, the authors draw upon a wealth of original research in many fields, generating new perspectives and thought-provoking, often surprising, conclusions. With their abundant cross-cultural and cross-temporal references, the chapters mutually enrich each other and collectively deepen our understanding of ecstatic phenomena thousands of years ago. Another noteworthy feature of the book is its illustrative content, including commissioned reconstructions of ecstatic scenarios and pairings of works of Bronze Age and modern psychedelic art. Scholars, students and other readers interested in antiquity, comparative religion and the social and cognitive sciences will find much to explore in the fascinating realm of ecstatic experience in the ancient world.

The Descent of the Soul and the Archaic explores the motif of kátabasis (a "descent" into an imaginal underworld) and the importance it held for writers from antiquity to the present, with an emphasis on its place in psychoanalytic theory. This collection of chapters builds on Jung’s insights into katabasis and nekyia as models for deep self-descent and the healing process which follows. The contributors explore ancient and modern notions of the self, as obtained through a "descent" to a deeper level of imaginal experience. With an awareness of the difficulties of applying contemporary psychological precepts to ancient times, the contributors explore various modes of self-formation as a process of discovery. Presented in three parts, the chapters assess contexts and texts, goddesses, and theoretical alternatives. This book will be of interest to scholars and analysts working in wide-ranging fields, including classical studies, all schools of psychoanalysis, especially Jung’s, and postmodern thought, especially the philosophy of Deleuze.

This is the first anthology of commentary on Sallis that shows what is genuinely unique in his thought: the transformative relation of reason and imagination in thinking "after Heidegger."

American archaeology today encompasses a huge range of approaches and draws eclectically on a multitude of academic disciplines. Until now, however, there has been no book seeking to separate the main strands and traditions of research and present a rounded picture of American archaeological thought in all its diversity. The seventeen essays in Archaeological Thought in America describe recent theoretical advances and present substantive interpretations of prehistoric data drawn from a variety of cultures and time-frames, including Mesoamerica, Central Asia, India and China. The contributors include many of the leading North American archaeologists of this generation.

In this volume, Carolyn M. Laferrière examines Athenian vase-paintings and reliefs depicting the gods most frequently shown as musicians to reconstruct how images suggest the sounds of the music the gods made. Incorporating insights from recent work in sensory studies, she applies formal analysis together with literary and archaeological evidence to reconstruct the musical culture of Athens. Laferrière shows how images suggest the sounds of the gods' music. This representational strategy, whereby sight and sound are blurred, conveys the 'unhearable' nature of their music: Because it cannot be physically heard, it falls to human imagination to provide its sounds and awaken viewers' multisensory engagement. Moreover, when situated within their likely original contexts, the objects establish a network of interaction between the viewer, the visualized music, and the landscape, all of which determined how divine music was depicted, perceived, and reciprocated. Laferrière demonstrates that participation in the gods' musical performances offered worshippers an multisensory experience of divine presence.