汉画中“捞鼎”的社会意义及其生死象征

汉画像石中的“捞鼎”图像具有丰富的内涵和重要的意义,它不仅表现的是王权的更迭,更是两汉时期社会信仰意识的集中体现。画像中“鼎”的捞起与失落这一过程反映了生命的意义,具有灵魂重生和生命复出的隐喻。捞鼎画像在一定程度上反映了董仲舒的天人感应思想、汉代民间的宗教信仰以及汉人的生死观。     

Wotan and the ‘archetypal Ergriffenheit’: Mystical union, national spiritual rebirth and culture-creating capacity in C. G. Jung's ‘Wotan’ essay

This article analyses the 1936 “Wotan” essay by Swiss psychologist Carl Gustav Jung in light of one of its reigning motifs, Ergriffenheit. First, this term is examined within the works of Protestant theologian Rudolf Otto and Indologist Jakob Wilhelm Hauer, who used it to describe what they claimed to be the original religious experience, a state of being deeply stirred or even seized by the “the holy” or by “the ultimate reality.” The article then examines antecedents in Jung's theory of states of psychic seizure, in which two halves of the psyche come into conflict, the resolution of which leads to an increased capacity to create the arts of culture. The analysis then moves to the “Wotan” essay itself, where Jung brings together his own theory of psychic seizure with the theory of the original religious experience as proposed by the above-named scholars of religion in order to suggest that, under National Socialism, the Germans were in the midst of a collective confrontation with their own inner divinity, which should lead to a national spiritual rebirth. The article then investigates the works of several of the men Jung mentions in the essay, as well as his use of ancient Germanic mythology, to support his claim. Through his portrait of the Germanic archetype Wotan, Jung psychologizes and thereby essentializes the Romantic image of the Germans as “a people of poets and philosophers” as well as that of a Nietzschean “master-race.” In conclusion, the article argues that, at least in 1936, Jung's attitude towards Hitler and National Socialism was much more favorable than has previously been recognized.     

The European miracle. Environment,economies and geopolitics in the history of Europe and Asia

This article analyses the 1936 “Wotan” essay by Swiss psychologist Carl Gustav Jung in light of one of its reigning motifs, Ergriffenheit. First, this term is examined within the works of Protestant theologian Rudolf Otto and Indologist Jakob Wilhelm Hauer, who used it to describe what they claimed to be the original religious experience, a state of being deeply stirred or even seized by the “the holy” or by “the ultimate reality.” The article then examines antecedents in Jung's theory of states of psychic seizure, in which two halves of the psyche come into conflict, the resolution of which leads to an increased capacity to create the arts of culture. The analysis then moves to the “Wotan” essay itself, where Jung brings together his own theory of psychic seizure with the theory of the original religious experience as proposed by the above-named scholars of religion in order to suggest that, under National Socialism, the Germans were in the midst of a collective confrontation with their own inner divinity, which should lead to a national spiritual rebirth. The article then investigates the works of several of the men Jung mentions in the essay, as well as his use of ancient Germanic mythology, to support his claim. Through his portrait of the Germanic archetype Wotan, Jung psychologizes and thereby essentializes the Romantic image of the Germans as “a people of poets and philosophers” as well as that of a Nietzschean “master-race.” In conclusion, the article argues that, at least in 1936, Jung's attitude towards Hitler and National Socialism was much more favorable than has previously been recognized.     

半坡“人面衔鱼”图案再分析

半坡"人面衔鱼"图案表现的是一条俯视视角下的鱼,而非戴有装饰的人,应定名为"人面鱼"纹。对观者来说,它是"对视"和"远观"两种视角的结合,其设计目的在于通过二维的方式表现三维场景。参考玛雅文明关于地下水世界和人化鱼重生的观念,依据此类图形的出土情境,我们推测它很可能表达了半坡人群希望部分死者能够转化为鱼,穿过象征死亡的水域,进而重生或转世的愿望。