Acknowledged as the "Artist of the Century," Marcel Duchamp (1887–1968) left a legacy that dominates the art world to this day. Inventing the ironically dégagé attitude of "ready-made" art-making, Duchamp heralded the postmodern era and replaced Pablo Picasso as the role model for avant-garde artists. John F. Moffitt challenges commonly accepted interpretations of Duchamp's art and persona by showing that his mature art, after 1910, is largely drawn from the influence of the occult traditions. Moffitt demonstrates that the key to understanding the cryptic meaning of Duchamp's diverse artworks and writings is alchemy, the most pictorial of all the occult philosophies and sciences.

The three-volume Witch School teaching series will prepare you for initiation into all three degrees of Correllian Wicca, one of the largest and fastest-growing Wiccan traditions in the world. As an additional bonus, WitchSchool.com offers many optional interactive features to enhance your textbook learning experience. The Witch's Journey Venture further on your journey into the magical life of a Witch. The twelve lessons of the Witch School's Second Degree, designed to be completed in the traditional "year and a day" format, build on the skills and knowledge you gained in the First Degree training program. Each lesson has four sections: an in-depth lesson, magical exercises, a spell, and a glossary. You'll round out your magical education and be ready choose your specialty within the Wiccan arts when you master the following advanced tools and techniques: Tarot Physiognomy Astrology Magical Alphabets Numerology Death, Spirits, and Spirit Guides Sex Magic Magical Calendars Advanced Chakra and Energy Work Ley Lines The Ba Gua Group Dynamics Completion of the twelve lessons in this book makes you eligible for initiation into the Second Degree of Correllian Nativist Wicca.

The literary influence of alchemy and hermeticism in the work of most medieval and early modern authors has been overlooked. Stanton Linden now provides the first comprehensive examination of this influence on English literature from the late Middle Ages through the sixteenth and seventeenth centuries. Drawing extensively on alchemical allusions as well as on the practical and theoretical background of the art and its pictorial tradition, Linden demonstrates the pervasiveness of interest in alchemy during this three-hundred-year period. Most writers—including Langland, Gower, Barclay, Eramus, Sidney, Greene, Lyly, and Shakespeare—were familiar with alchemy, and references to it appear in a wide range of genres. Yet the purposes it served in literature from Chaucer through Jonson were narrowly satirical. In literature of the seventeenth century, especially in the poetry of Donne, Herbert, Vaughan, and Milton, the functions of alchemy changed. Focusing on Bacon, Donne, Herbert, Vaughan, and Milton—in addition to Jonson and Butler—Linden demonstrates the emergence of new attitudes and innovative themes, motifs, images, and ideas. The use of alchemy to suggest spiritual growth and change, purification, regeneration, and millenarian ideas reflected important new emphases in alchemical, medical, and occultist writing. This new tradition did not continue, however, and Butler's return to satire was contextualized in the antagonism of the Royal Society and religious Latitudinarians to philosophical enthusiasm and the occult. Butler, like Shadwell and Swift, expanded the range of satirical victims to include experimental scientists as well as occult charlatans. The literary uses of alchemy thus reveal the changing intellectual milieus of three centuries.

Annotation Essays which state the fundamentals of Jung's psychological system: "On the Psychology of the Unconscious" and "The Relations Between the Ego and the Unconscious," with their original versions in an appendix.

For the first time, The Collected Works of C. G. Jung is now available in a complete digital edition that is full-text searchable. The Complete Digital Edition includes Vols. 1–18 and Vol. 19, the General Bibliography of C. G. Jung's Writings. (Vol. 20, the General Index to the Collected Works, is not included.) Volumes 1–18 of The Collected Works are available for individual purchase and are also full-text searchable at http://press.princeton.edu/catalogs/series/bscwj.html [The Collected Works of C.G. Jung]. The Collected Works of C. G. Jung forms one of the basic texts of twentieth-century thought: at once foundational for depth psychology and pivotal for intellectual, cultural, and religious history. The writings presented here, spanning five decades, embody Jung's attempt to establish an interdisciplinary science of analytical psychology, and apply its insights to the fields of psychiatry, criminology, psychotherapy, psychoanalysis, personality psychology, anthropology, physics, biology, education, the arts and literature, the history of the mind and its symbols, comparative religion, alchemy, and contemporary culture and politics, among others: each in turn has been decisively marked by his thought. Of timely and ongoing relevance to the understanding of these fields, Jung's writings are at the same time essential reading for any understanding of the making of the modern mind.

For the first time in English, Jung's landmark lecture on Nerval's hallucinatory memoir In 1945, at the end of the Second World War and after a long illness, C. G. Jung delivered a lecture in Zürich on the French Romantic poet Gérard de Nerval. The lecture focused on Nerval's visionary memoir, Aurélia, which the poet wrote in an ambivalent attempt to emerge from madness. Published here for the first time, Jung’s lecture is both a cautionary psychological tale and a validation of Nerval’s visionary experience as a genuine encounter. Nerval explored the irrational with lucidity and exquisite craft. He privileged the subjective imagination as a way of fathoming the divine to reconnect with what the Romantics called the life principle. During the years of his greatest creativity, he suffered from madness and was institutionalized eight times. Contrasting an orthodox psychoanalytic interpretation with his own synthetic approach to the unconscious, Jung explains why Nerval was unable to make use of his visionary experiences in his own life. At the same time, Jung emphasizes the validity of Nerval’s visions, differentiating the psychology of a work of art from the psychology of the artist. The lecture suggests how Jung’s own experiments with active imagination influenced his reading of Nerval’s Aurélia as a parallel text to his own Red Book. With Craig Stephenson’s authoritative introduction, Richard Sieburth’s award-winning translation of Aurélia, and Alfred Kubin’s haunting illustrations to the text, and featuring Jung’s reading marginalia, preliminary notes, and revisions to a 1942 lecture, On Psychological and Visionary Art documents the stages of Jung’s creative process as he responds to an essential Romantic text.