Studying the nature of symbol in Coleridge's work, Father Barth shows that it is central to Coleridge's intellectual endeavor in poetry and criticism as well as in philosophy and theology. He finds symbol to be an essentially religious reality for Coleridge, one that partakes of the nature of a sacrament, especially sacrament as an encounter between material and spiritual reality. Father Barth notes that eighteenth-century poetry was by and large a poetry of metaphor rather than of symbol, a poetry of reference rather than of encounter. In close readings of the poetry of Wordsworth and Coleridge, he shows how they practiced and developed the poetry of symbol. Finally, analyzing the symbolic imagination, the author concludes that it is a phenomenon profoundly linked with the experience of Romanticism itself and with a fundamental change in religious sensibility. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

How did humans develop the capacity for symbolic imagination? In this ground-breaking book, Warren Colman provides a reformulation of archetypal symbols as emergent from humans’ embodied and affective engagement with their social and material environment. Beginning with the oldest known figurative image in the world, the 40,000-year-old Lion Man of Hohlenstein-Stadel in Germany, he traces the emergence of symbolic imagination through the origins of language, the growth of human sociality and co-operation, and the creative use of material objects, from the earliest stone tools through the cave paintings and figures of Upper Paleolithic Europe and beyond. This leads to a consideration of how the imaginal world of the spirit may have come into being, not as separate from the material world but through active participation within a world alive with meaning.

Thoroughly revised and expanded for a new generation of readers, this classic guide to enjoying literature to its fullest—a lively, enlightening, and entertaining introduction to a diverse range of writing and literary devices that enrich these works, including symbols, themes, and contexts—teaches you how to make your everyday reading experience richer and more rewarding. While books can be enjoyed for their basic stories, there are often deeper literary meanings beneath the surface. How to Read Literature Like a Professor helps us to discover those hidden truths by looking at literature with the practiced analytical eye—and the literary codes—of a college professor. What does it mean when a protagonist is traveling along a dusty road? When he hands a drink to his companion? When he’s drenched in a sudden rain shower? Thomas C. Foster provides answers to these questions as he explores every aspect of fiction, from major themes to literary models, narrative devices, and form. Offering a broad overview of literature—a world where a road leads to a quest, a shared meal may signify a communion, and rain, whether cleansing or destructive, is never just a shower—he shows us how to make our reading experience more intellectually satisfying and fun. The world, and curricula, have changed. This third edition has been thoroughly revised to reflect those changes, and features new chapters, a new preface and epilogue, as well as fresh teaching points Foster has developed over the past decade. Foster updates the books he discusses to include more diverse, inclusive, and modern works, such as Angie Thomas’s The Hate U Give; Emily St. John Mandel’s Station Eleven; Neil Gaiman’s Neverwhere; Elizabeth Acevedo’s The Poet X; Helen Oyeyemi's Mr. Fox and Boy, Snow, Bird; Sandra Cisneros’s The House on Mango Street; Zora Neale Hurston’s Their Eyes Were Watching God; Maggie O’Farrell’s Hamnet; Madeline Miller’s Circe; Pat Barker’s The Silence of the Girls; and Tahereh Mafi’s A Very Large Expanse of Sea.

The emergence of symbolic culture, classically identified with the European cave paintings of the Ice Age, is now seen, in the light of recent groundbreaking discoveries, as a complex nonlinear process taking root in a remote past and in different regions of the planet. In this book the archaeologists responsible for some of these new discoveries, flanked by ethologists interested in primate cognition and cultural transmission, evolutionary psychologists modelling the emergence of metarepresentations, as well as biologists, philosophers, neuro-scientists and an astronomer combine their research findings. Their results call into question our very conception of human nature and animal behaviour, and they create epistemological bridges between disciplines that build the foundations for a novel vision of our lineage's cultural trajectory and the processes that have led to the emergence of human societies as we know them.

Examining novels, critical editions, gift books, translations, and illustrated books, as well as the communities who made them, Dreaming in Books tells a wide-ranging story of the book's identity at the turn of the nineteenth century. In so doing, it shows how many of the most pressing modern communicative concerns are not unique to the digital age but emerged with a particular sense of urgency during the bookish upheavals of the romantic era. In revisiting the book's rise through the prism of romantic literature, Piper aims to revise our assumptions about romanticism, the medium of the printed book, and, ultimately, the future of the book in our so-called digital age."--Pub. desc.

Explores the value and uses of literature in our time. Dr. Frye offers ideas for the teaching of literature at lower school levels, designed both to promote an early interest and to lead the student to the knowledge and experience found in the study of literature.

Symbolic Mental Representations in Arts and Mystical Experiences explains how the individual’s conceptualization of reality is dependent on the development of their brain, body structure, and the experiences that are physiologically confronted, acted, or observed via learning and/or simulation, occurring in family or community settings. The book offers support for Jean Knox’s reinterpretation of Jung's archetypal hypothesis, exposing the fundamentality of the body – in its neurophysiological development, bodily-felt sensations, non-verbal interactions, affects, emotions, and actions – in the process of meaning-making. Using information from disciplines such as Affective Neuroscience, Embodied Cognition, Attachment Theory, and Cognitive Linguistics, it clarifies how the most refined experiences of symbolic imagination are rooted in somatopsychic patterns. This book will be of great interest for academics and researchers in the fields of Analytical Psychology, Affective Neuroscience, Linguistics, Anthropology of Consciousness, Art-therapy, and Mystical Experiences, as well as Jungian and post-Jungian scholars, philosophers, and teachers.

Astrology is so much more than a predictive and prescriptive typology. It is a soulful and evocative tradition that engages us in both rational and imaginal ways of knowing. Each horoscope is an invitation to consider the gods that live through us and the archetypal powers that pave our path through life. In Soul, Symbol and Imagination, Brian Clark shares his experiences of astrology as a profoundly therapeutic, divinatory and spiritual modality that has shaped his life.

In an exciting new approach to witchcraft studies, The Witch in the Western Imagination examines the visual representation of witches in early modern Europe. With vibrant and lucid prose, Lyndal Roper moves away from the typical witchcraft studies on trials, beliefs, and communal dynamics and instead considers the witch as a symbolic and malleable figure through a broad sweep of topics and time periods. Employing a wide selection of archival, literary, and visual materials, Roper presents a series of thematic studies that range from the role of emotions in Renaissance culture to demonology as entertainment, and from witchcraft as female embodiment to the clash of cultures on the brink of the Enlightenment. Rather than providing a vast synthesis or survey, this book is questioning and exploratory in nature and illuminates our understanding of the mental and psychic worlds of people in premodern Europe. Roper’s spectrum of theoretical interests will engage readers interested in cultural history, psychoanalytic theory, feminist theory, art history, and early modern European studies. These essays, three of which appear here for the first time in print, are complemented by more than forty images, from iconic paintings to marginal drawings on murals or picture frames. In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.