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Papers from the Eranos Yearbooks, Eranos 3: Man and Time
Essays by Henry Corbin, Mircea Eliade, C. G. Jung, Max Knoll, G. van der Leeuw, Louis Massignon, Erich Neumann, Helmuth Plessner, Adolf Portmann, Henri-Charles Puech, Gilles Quispel, and Hellmut Wilhelm. With an introduction by Henry Corbin.
Originally published in 1957.
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.
Originally published in 1957.
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.
440 pages, Paperback
First published January 1, 1954
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309 people want to read
About the author
Joseph Campbell
423 books6,140 followersJoseph Campbell was an American author and teacher best known for his work in the field of comparative mythology. He was born in New York City in 1904, and from early childhood he became interested in mythology. He loved to read books about American Indian cultures, and frequently visited the American Museum of Natural History in New York, where he was fascinated by the museum's collection of totem poles.
Campbell was educated at Columbia University, where he specialized in medieval literature, and continued his studies at universities in Paris and Munich. While abroad he was influenced by the art of Pablo Picasso and Henri Matisse, the novels of James Joyce and Thomas Mann, and the psychological studies of Sigmund Freud and Carl Jung. These encounters led to Campbell's theory that all myths and epics are linked in the human psyche, and that they are cultural manifestations of the universal need to explain social, cosmological, and spiritual realities.
After a period in California, where he encountered John Steinbeck and the biologist Ed Ricketts, he taught at the Canterbury School, and then, in 1934, joined the literature department at Sarah Lawrence College, a post he retained for many years. During the 40s and '50s, he helped Swami Nikhilananda to translate the Upanishads and The Gospel of Sri Ramakrishna. He also edited works by the German scholar Heinrich Zimmer on Indian art, myths, and philosophy. In 1944, with Henry Morton Robinson, Campbell published A Skeleton Key to Finnegans Wake. His first original work, The Hero with a Thousand Faces, came out in 1949 and was immediately well received; in time, it became acclaimed as a classic. In this study of the "myth of the hero," Campbell asserted that there is a single pattern of heroic journey and that all cultures share this essential pattern in their various heroic myths. In his book he also outlined the basic conditions, stages, and results of the archetypal hero's journey.
Throughout his life, he traveled extensively and wrote prolifically, authoring many books, including the four-volume series The Masks of God, Myths to Live By, The Inner Reaches of Outer Space and The Historical Atlas of World Mythology. Joseph Campbell died in 1987. In 1988, a series of television interviews with Bill Moyers, The Power of Myth, introduced Campbell's views to millions of people.
Campbell was educated at Columbia University, where he specialized in medieval literature, and continued his studies at universities in Paris and Munich. While abroad he was influenced by the art of Pablo Picasso and Henri Matisse, the novels of James Joyce and Thomas Mann, and the psychological studies of Sigmund Freud and Carl Jung. These encounters led to Campbell's theory that all myths and epics are linked in the human psyche, and that they are cultural manifestations of the universal need to explain social, cosmological, and spiritual realities.
After a period in California, where he encountered John Steinbeck and the biologist Ed Ricketts, he taught at the Canterbury School, and then, in 1934, joined the literature department at Sarah Lawrence College, a post he retained for many years. During the 40s and '50s, he helped Swami Nikhilananda to translate the Upanishads and The Gospel of Sri Ramakrishna. He also edited works by the German scholar Heinrich Zimmer on Indian art, myths, and philosophy. In 1944, with Henry Morton Robinson, Campbell published A Skeleton Key to Finnegans Wake. His first original work, The Hero with a Thousand Faces, came out in 1949 and was immediately well received; in time, it became acclaimed as a classic. In this study of the "myth of the hero," Campbell asserted that there is a single pattern of heroic journey and that all cultures share this essential pattern in their various heroic myths. In his book he also outlined the basic conditions, stages, and results of the archetypal hero's journey.
Throughout his life, he traveled extensively and wrote prolifically, authoring many books, including the four-volume series The Masks of God, Myths to Live By, The Inner Reaches of Outer Space and The Historical Atlas of World Mythology. Joseph Campbell died in 1987. In 1988, a series of television interviews with Bill Moyers, The Power of Myth, introduced Campbell's views to millions of people.
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Displaying 1 - 3 of 3 reviews
June 13, 2025
O problema desse livro é o fato do primeiro texto ser o do Erich Neumann e, como total BAMF que era, exalou já no inicio deixando os demais textos não tão interessantes.
As our daytime world is devoured by the Terrible Mother, torn to pieces in the bloody rituals that are our wars, demonic, magical, and elemental irrationality invades us. The stream of the libido flows inward, from the crumbling canon into the unconscious, and activates its latent images of past and future.
I must quote from Dr. Faustus, with which the tragedy ends: "Often he talked of eternal grace, the poor man, and I don't know if it will be enough. But an understanding heart, believe me, is enough for everything."
Let us understand these words correctly. They are not proud or arrogant; on the contrary they are desperately modest. We really do not know any longer whether grace is enough, precisely because we are as we are and are beginning to see ourselves as we are. But at a time of overwhelming crisis, the questionable nature of grace, or rather our knowledge that we are unworthy of grace, compels us to understand and love mankind, the fallible mankind that we ourselves are. Behind this abysmal crisis, the archetype of the Eternal Feminine as earth and as Sophia would seem to be discernible; it is no accident that these words are spoken by Frau Schweigestill, the mother. That is to say, it is precisely in chaos, in hell, that the New makes its appearance. Did not Kwanyin descend into hell rather than spend her time with the serene music makers in heaven?
Art and Time - Erich Neumann
As our daytime world is devoured by the Terrible Mother, torn to pieces in the bloody rituals that are our wars, demonic, magical, and elemental irrationality invades us. The stream of the libido flows inward, from the crumbling canon into the unconscious, and activates its latent images of past and future.
I must quote from Dr. Faustus, with which the tragedy ends: "Often he talked of eternal grace, the poor man, and I don't know if it will be enough. But an understanding heart, believe me, is enough for everything."
Let us understand these words correctly. They are not proud or arrogant; on the contrary they are desperately modest. We really do not know any longer whether grace is enough, precisely because we are as we are and are beginning to see ourselves as we are. But at a time of overwhelming crisis, the questionable nature of grace, or rather our knowledge that we are unworthy of grace, compels us to understand and love mankind, the fallible mankind that we ourselves are. Behind this abysmal crisis, the archetype of the Eternal Feminine as earth and as Sophia would seem to be discernible; it is no accident that these words are spoken by Frau Schweigestill, the mother. That is to say, it is precisely in chaos, in hell, that the New makes its appearance. Did not Kwanyin descend into hell rather than spend her time with the serene music makers in heaven?
Art and Time - Erich Neumann
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Displaying 1 - 3 of 3 reviews