All the creative art psychotherapies (art, dance, music, drama, poetry) can trace their roots to C. G. Jung's early work on active imagination. Joan Chodorow here offers a collection of Jung's writings on active imagination, gathered together for the first time. Jung developed this concept between the years 1913 and 1916, following his break with Freud. During this time, he was disoriented and experienced intense inner turmoil —he suffered from lethargy and fears, and his moods threatened to overwhelm him. Jung ...

See more details below
Jung on Active Imagination

Available on NOOK devices and apps  
  • NOOK Devices
  • Samsung Galaxy Tab 4 NOOK 7.0
  • Samsung Galaxy Tab 4 NOOK 10.1
  • NOOK HD Tablet
  • NOOK HD+ Tablet
  • NOOK eReaders
  • NOOK Color
  • NOOK Tablet
  • Tablet/Phone
  • NOOK for Windows 8 Tablet
  • NOOK for iOS
  • NOOK for Android
  • NOOK Kids for iPad
  • PC/Mac
  • NOOK for Windows 8
  • NOOK for PC
  • NOOK for Mac
  • NOOK for Web

Want a NOOK? Explore Now

NOOK Book (eBook)
BN.com price
(Save 33%)$23.95 List Price


All the creative art psychotherapies (art, dance, music, drama, poetry) can trace their roots to C. G. Jung's early work on active imagination. Joan Chodorow here offers a collection of Jung's writings on active imagination, gathered together for the first time. Jung developed this concept between the years 1913 and 1916, following his break with Freud. During this time, he was disoriented and experienced intense inner turmoil —he suffered from lethargy and fears, and his moods threatened to overwhelm him. Jung searched for a method to heal himself from within, and finally decided to engage with the impulses and images of his unconscious. It was through the rediscovery of the symbolic play of his childhood that Jung was able to reconnect with his creative spirit. In a 1925 seminar and again in his memoirs, he tells the remarkable story of his experiments during this time that led to his self-healing. Jung learned to develop an ongoing relationship with his lively creative spirit through the power of imagination and fantasies. He termed this therapeutic method "active imagination."

This method is based on the natural healing function of the imagination, and its many expressions. Chodorow clearly presents the texts, and sets them in the proper context. She also interweaves her discussion of Jung's writings and ideas with contributions from Jungian authors and artists.

Read More Show Less

Product Details

  • ISBN-13: 9781400866854
  • Publisher: Princeton University Press
  • Publication date: 2/17/2015
  • Series: Encountering Jung
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 208
  • Sales rank: 737,344
  • File size: 5 MB

Meet the Author

Joan Chodorow, Ph.D., is an analyst member of the C. G. Jung Institute of San Francisco, in private practice. She is a registered dance therapist and former president of the American Dance Therapy Association.
Read More Show Less

Read an Excerpt

Jung on Active Imagination

By Joan Chodorow


Copyright © 1997 Joan Chodorow
All rights reserved.
ISBN: 978-1-4008-6685-4


Confrontation with the unconscious

From: Memories, Dreams, Reflections (1961), ch. 6, pp. 170–99

After the parting of the ways with Freud, a period of inner uncertainty began for me. It would be no exaggeration to call it a state of disorientation. I felt totally suspended in mid-air, for I had not yet found my own footing. Above all, I felt it necessary to develop a new attitude toward my patients. I resolved for the present not to bring any theoretical premises to bear upon them, but to wait and see what they would tell of their own accord. My aim became to leave things to chance. The result was that the patients would spontaneously report their dreams and fantasies to me, and I would merely ask, 'What occurs to you in connection with that?' or, 'How do you mean that, where does that come from, what do you think about it?' The interpretations seemed to follow of their own accord from the patients' replies and associations. I avoided all theoretical points of view and simply helped the patients to understand the dream-images by themselves, without application of rules and theories.

Soon I realized that it was right to take the dreams in this way as the basis of interpretation, for that is how dreams are intended. They are the facts from which we must proceed. Naturally, the aspects resulting from this method were so multitudinous that the need for a criterion grew more and more pressing – the need, I might almost put it, for some initial orientation.

About this time I experienced a moment of unusual clarity in which I looked back over the way I had traveled so far. I thought, 'Now you possess a key to mythology and are free to unlock all the gates of the unconscious psyche.' But then something whispered within me, 'Why open all gates?' And promptly the question arose of what, after all, I had accomplished. I had explained the myths of peoples of the past; I had written a book about the hero, the myth in which man has always lived. But in what myth does man live nowadays? In the Christian myth, the answer might be, 'Do you live in it?' I asked myself. To be honest, the answer was no. 'For me, it is not what I live by.' 'Then do we no longer have any myth?' 'No, evidently we no longer have any myth.' 'But then what is your myth – the myth in which you do live?' At this point the dialogue with myself became uncomfortable, and I stopped thinking. I had reached a dead end.

Then, around Christmas of 1912,1 had a dream. In the dream I found myself in a magnificent Italian loggia with pillars, a marble floor, and a marble balustrade. I was sitting on a gold Renaissance chair; in front of me was a table of rare beauty. It was made of green stone, like emerald. There I sat, looking out into the distance, for the loggia was set high up on the tower of a castle. My children were sitting at the table too.

Suddenly a white bird descended, a small sea gull or a dove. Gracefully, it came to rest on the table, and I signed to the children to be still so that they would not frighten away the pretty white bird. Immediately, the dove was transformed into a little girl, about eight years of age, with golden blond hair. She ran off with the children and played with them among the colonnades of the castle.

I remained lost in thought, musing about what I had just experienced. The little girl returned and tenderly placed her arms around my neck. Then she suddenly vanished; the dove was back and spoke slowly in a human voice. 'Only in the first hours of the night can I transform myself into a human being, while the male dove is busy with the twelve dead.' Then she flew off into the blue air, and I awoke.

I was greatly stirred. What business would a male dove be having with twelve dead people? In connection with the emerald table the story of the Tabula Smaragdina occurred to me, the emerald table in the alchemical legend of Hermes Trismegistos. He was said to have left behind him a table upon which the basic tenets of alchemical wisdom were engraved in Greek.

I also thought of the twelve apostles, the twelve months of the year, the signs of the zodiac, etc. But I could find no solution to the enigma. Finally I had to give it up. All I knew with any certainty was that the dream indicated an unusual activation of the unconscious. But I knew no technique whereby I might get to the bottom of my inner processes, and so there remained nothing for me to do but wait, go on with my life, and pay close attention to my fantasies.

One fantasy kept returning: there was something dead present, but it was also still alive. For example, corpses were placed in crematory ovens, but were then discovered to be still living. These fantasies came to a head and were simultaneously resolved in a dream.

I was in a region like the Alyscamps near Aries. There they have a lane of sarcophagi which go back to Merovingian times. In the dream I was coming from the city, and saw before me a similar lane with a long row of tombs. They were pedestals with stone slabs on which the dead lay. They reminded me of old church burial vaults, where knights in armor lie out-stretched. Thus the dead lay in my dream, in their antique clothes, with hands clasped, the difference being that they were not hewn out of stone, but in a curious fashion mummified. I stood still in front of the first grave and looked at the dead man, who was a person of the eighteen-thirties. I looked at his clothes with interest, whereupon he suddenly moved and came to life. He unclasped his hands; but that was only because I was looking at him. I had an extremely unpleasant feeling, but walked on and came to another body. He belonged to the eighteenth century. There exactly the same thing happened: when I looked at him, he came to life and moved his hands. So I went down the whole row, until I came to the twelfth century – that is, to a crusader in chain mail who lay there with clasped hands. His figure seemed carved out of wood. For a long time I looked at him and thought he was really dead. But suddenly I saw that a finger of his left hand was beginning to stir gently.

Of course I had originally held to Freud's view that vestiges of old experiences exist in the unconscious. But dreams like this, and my actual experiences of the unconscious, taught me that such contents are not dead, outmoded forms, but belong to our living being. My work had confirmed this assumption, and in the course of years there developed from it the theory of archetypes.

The dreams, however, could not help me over my feeling of disorientation. On the contrary, I lived as if under constant inner pressure. At times this became so strong that I suspected there was some psychic disturbance in myself. Therefore I twice went over all the details of my entire life, with particular attention to childhood memories; for I thought there might be something in my past which I could not see and which might possibly be the cause of the disturbance. But this retrospection led to nothing but a fresh acknowledgement of my own ignorance. Thereupon I said to myself, 'Since I know nothing at all, I shall simply do whatever occurs to me.' Thus I consciously submitted myself to the impulses of the unconscious.

The first thing that came to the surface was a childhood memory from perhaps my tenth or eleventh year. At that time I had had a spell of playing passionately with building blocks. I distinctly recalled how I had built little houses and castles, using bottles to form the sides of gates and vaults. Somewhat later I had used ordinary stones, with mud for mortar. These structures had fascinated me for a long time. To my astonishment, this memory was accompanied by a good deal of emotion. 'Aha,' I said to myself, 'there is still life in these things. The small boy is still around, and possesses a creative life which I lack. But how can I make my way to it?' For as a grown man it seemed impossible to me that I should be able to bridge the distance from the present back to my eleventh year. Yet if I wanted to re-establish contact with that period, I had no choice but to return to it and take up once more that child's life with his childish games. This moment was a turning point in my fate, but I gave in only after endless resistances and with a sense of resignation. For it was a painfully humiliating experience to realize that there was nothing to be done except play childish games.

Nevertheless, I began accumulating suitable stones, gathering them partly from the lake shore and partly from the water. And I started building: cottages, a castle, a whole village. The church was still missing, so I made a square building with a hexagonal drum on top of it, and a dome. A church also requires an altar, but I hesitated to build that.

Preoccupied with the question of how I could approach this task, I was walking along the lake as usual one day, picking stones out of the gravel on the shore. Suddenly I caught sight of a red stone, a four-sided pyramid about an inch and a half high. It was a fragment of stone which had been polished into this shape by the action of the water – a pure product of chance. I knew at once: this was the altar! I placed it in the middle under the dome, and as I did so, I recalled the underground phallus of my childhood dream. This connection gave me a feeling of satisfaction.

I went on with my building game after the noon meal every day, whenever the weather permitted. As soon as I was through eating, I began playing, and continued to do so until the patients arrived; and if I was finished with my work early enough in the evening, I went back to building. In the course of this activity my thoughts clarified, and I was able to grasp the fantasies whose presence in myself I dimly felt.

Naturally, I thought about the significance of what I was doing, and asked myself, 'Now, really, what are you about? You are building a small town, and doing it as if it were a rite!' I had no answer to my question, only the inner certainty that I was on the way to discovering my own myth. For the building game was only a beginning. It released a stream of fantasies which I later carefully wrote down.

This sort of thing has been consistent with me, and at any time in my later life when I came up against a blank wall, I painted a picture or hewed stone. Each such experience proved to be a rite d' entrée for the ideas and works that followed hard upon it. Everything that I have written this year and last year, 'The Undiscovered Self,' 'Flying Saucers: A Modern Myth,' ? Psychological View of Conscience,' has grown out of the stone sculptures I did after my wife's death.3 The close of her life, the end, and what it made me realize, wrenched me violently out of myself. It cost me a great deal to regain my footing, and contact with stone helped me.

Toward the autumn of 1913 the pressure which I had felt was in me seemed to be moving outward, as though there were something in the air. The atmosphere actually seemed to me darker than it had been. It was as though the sense of oppression no longer sprang exclusively from a psychic situation, but from concrete reality. This feeling grew more and more intense.

In October, while I was alone on a journey, I was suddenly seized by an overpowering vision: I saw a monstrous flood covering all the northern and low-lying lands between the North Sea and the Alps. When it came up to Switzerland I saw that the mountains grew higher and higher to protect our country. I realized that a frightful catastrophe was in progress. I saw the mighty yellow waves, the floating rubble of civilization, and the drowned bodies of uncounted thousands. Then the whole sea turned to blood. This vision lasted about one hour. I was perplexed and nauseated, and ashamed of my weakness.

Two weeks passed; then the vision recurred, under the same conditions, even more vividly than before, and the blood was more emphasized. An inner voice spoke. 'Look at it well; it is wholly real and it will be so. You cannot doubt it.' That winter someone asked me what I thought were the political prospects of the world in the near future. I replied that I had no thoughts on the matter, but that I saw rivers of blood.

I asked myself whether these visions pointed to a revolution, but could not really imagine anything of the sort. And so I drew the conclusion that they had to do with me myself, and decided that I was menaced by a psychosis. The idea of war did not occur to me at all.

Soon afterward, in the spring and early summer of 1914, I had a thrice-repeated dream that in the middle of summer an Arctic cold wave descended and froze the land to ice. I saw, for example, the whole of Lorraine and its canals frozen and the entire region totally deserted by human beings. All living green things were killed by frost. This dream came in April and May, and for the last time in June, 1914.

In the third dream frightful cold had again descended from out of the cosmos. This dream, however, had an unexpected end. There stood a leaf-bearing tree, but without fruit (my tree of life, I thought), whose leaves had been transformed by the effects of the frost into sweet grapes full of healing juices. I plucked the grapes and gave them to a large, waiting crowd.

At the end of July 1914 I was invited by the British Medical Association to deliver a lecture, 'On the Importance of the Unconscious in Psychopathology,' at a congress in Aberdeen. I was prepared for something to happen, for such visions and dreams are fateful. In my state of mind just then, with the fears that were pursuing me, it seemed fateful to me that I should have to talk on the importance of the unconscious at such a time!

On August 1 the world war broke out. Now my task was clear: I had to try to understand what had happened and to what extent my own experience coincided with that of mankind in general. Therefore my first obligation was to probe the depths of my own psyche. I made a beginning by writing down the fantasies which had come to me during my building game. This work took precedence over everything else.

An incessant stream of fantasies had been released, and I did my best not to lose my head but to find some way to understand these strange things. I stood helpless before an alien world; everything in it seemed difficult and incomprehensible. I was living in a constant state of tension; often I felt as if gigantic blocks of stone were tumbling down upon me. One thunder-storm followed another. My enduring these storms was a question of brute strength. Others have been shattered by them – Nietzsche, and Holderlin, and many others. But there was a demonic strength in me, and from the beginning there was no doubt in my mind that I must find the meaning of what I was experiencing in these fantasies. When I endured these assaults of the unconscious I had an unswerving conviction that I was obeying a higher will, and that feeling continued to uphold me until I had mastered the task.

I was frequently so wrought up that I had to do certain yoga exercises in order to hold my emotions in check. But since it was my purpose to know what was going on within myself, I would do these exercises only until I had calmed myself enough to resume my work with the unconscious. As soon as I had the feeling that I was myself again, I abandoned this restraint upon the emotions and allowed the images and inner voices to speak afresh. The Indian, on the other hand, does yoga exercises in order to obliterate completely the multitude of psychic contents and images.

To the extent that I managed to translate the emotions into images – that is to say, to find the images which were concealed in the emotions – I was inwardly calmed and reassured. Had I left those images hidden in the emotions, I might have been torn to pieces by them. There is a chance that I might have succeeded in splitting them off; but in that case I would inexorably have fallen into a neurosis and so been ultimately destroyed by them anyhow. As a result of my experiment I learned how helpful it can be, from the therapeutic point of view, to find the particular images which lie behind emotions.


Excerpted from Jung on Active Imagination by Joan Chodorow. Copyright © 1997 Joan Chodorow. Excerpted by permission of PRINCETON UNIVERSITY PRESS.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Read More Show Less

Table of Contents

List of illustrationsList of abbreviations used in notesAcknowledgementsIntroduction11Confrontation with the unconscious212The transcendent function423'The technique of differentiation between the ego and the figures of the unconscious'614Commentary on The Secret of the Golden Flower735The aims of psychotherapy846A study in the process of individuation977The Tavistock lectures1438The psychological aspects of the Kore1549On the nature of the psyche15810Three letters to Mr O. (1947)16311Mysterium Coniunctionis16612Foreword to van Helsdingen: Beelden uit het Onbewuste175Afterword: Post-Jungian contributions177Bibliography180List of fantasies and visions186Subject index188Name index197
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)