By Joan Dexter Blackmer
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Extra resources for Acrobats of the Gods: Dance and Transformation (Studies in Jungian Psychology By Jungian Analysts, 39)
Indeed, it seems that the branches have been split from the roots of the feminine tree. In ''Answer to Job," Jung describes how the incarnation of Christ was "queered" by Yahweh's careful exclusion of human flesh from his plans. Mary was immaculate, untainted by original sin. , par. 674. Page 11 need of redemption. By having these special measures applied to her, Mary is elevated to the status of a goddess and consequently loses something of her humanity: she will not conceive her child in sin, like all other mothers, and therefore he also will never be a human being, but a god.
The temenos was originally a sacred precinct, often dedicated to the goddess Gaia. See Jung, Symbols of Transformation, CW 5, par. 570. Page 26 After one enters the sacred space there is, ideally, a period of quieting down. Many classes start with slow breathing. Physiologically, the warming and tuning of the body must proceed slowly to avoid injury. But psychologically, too, after the hassle of rushing to the studio and the bustle and chatter of the dressing room, quiet is needed to bring one's scattered thoughts to a still, introverted point of focus, to make connection with the other world.
The dreamer associated the woman at the window with Leonardo da Vinci's Mona Lisa. It was in a passage from Marie-Louise von Franz's essay in Man and His Symbols that I discovered the key with which to unlock the meaning of this dream. There she speaks of the four-fold structure and development of the feminine archetype, which in a man appears as the anima: The first stage is best symbolized by the figure of Eve, which represents purely instinctual and biological relations. The second can be seen in Faust's Helen: She personifies a romantic and aesthetic level that is, however, still characterized by sexual elements.
Acrobats of the Gods: Dance and Transformation (Studies in Jungian Psychology By Jungian Analysts, 39) by Joan Dexter Blackmer