Analysis of information sources in references of the Wikipedia article "Shadow (psychology)" in English language version.
The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.
[M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.
Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]
[A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]
So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]
Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.
Jung tended to personify the shadow as an autonomous sub-personality[.]
The dreamer is the only one to see himself naked. And in contemplating his nakedness, he is alone. This, Freud says, is 'a suggestive point.' [...] the other [dream] people should be staring and laughing or becoming angry, but they are not.
Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space—time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)
Apart from using dreams, Jung's method of soliciting emanations and manifestations of the unconscious was that of 'active imagination,' a method that produces a kind of waking vision or phantasy, which he then subjected to what he called 'amplification,' consisting essentially in finding 'parallels' to those images in 'collective' imaginations, such as myths, religious systems and practices, visions, alchemy, yoga[.]
The notion of enantiodromia (or reversal of [the] direction of psychic energy) following the mid-life crisis, became the foundation stone of Jung's later theory of the development of the personality.
The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.
Jolande Jacobi wrote that[.]
[M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.
The shadow is all that gets suppressed in the process of becoming a decent, civilized adult. [... it's] man's thwarted selfishness, his unadmitted desires, the swearwords he never spoke, the murders he didn't commit. The shadow is the dark side of his soul, the unadmitted, the inadmissible.
As for the 'shadow' side of human nature (on which there is no difference of opinion between Freud and Jung) we may remind ourselves of Plato's phrase that 'in all of us, even those that are the most respectable, there is a lawless, wildbeast nature which appears in sleep' [...] (Republic 571-2)
[T]he polarity of opposites[...]persona-shadow[.])
Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]
The major activity of the shadow is what Jung calls projection. [...] cast[ing] forth its ruling [negative] emotions [...] into other people ('people don't like me') or [...] considers [everything] a hostile, malevolent environment ('the world is against me').
[A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]
So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]
Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.
The shadow is projected outward, onto others. There's nothing wrong with me—it's them.
Jung tended to personify the shadow as an autonomous sub-personality[.]
The shadow stands on the threshold between the conscious and unconscious mind, and we meet it in our dreams, as sister, brother, friend, beast, monster, enemy, guide.
The dreamer is the only one to see himself naked. And in contemplating his nakedness, he is alone. This, Freud says, is 'a suggestive point.' [...] the other [dream] people should be staring and laughing or becoming angry, but they are not.
Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space—time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)
Apart from using dreams, Jung's method of soliciting emanations and manifestations of the unconscious was that of 'active imagination,' a method that produces a kind of waking vision or phantasy, which he then subjected to what he called 'amplification,' consisting essentially in finding 'parallels' to those images in 'collective' imaginations, such as myths, religious systems and practices, visions, alchemy, yoga[.]
The notion of enantiodromia (or reversal of [the] direction of psychic energy) following the mid-life crisis, became the foundation stone of Jung's later theory of the development of the personality.
The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.
[M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.
Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]
[A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]
So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]
Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.
Jung tended to personify the shadow as an autonomous sub-personality[.]
Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space—time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)
The shadow symbolizes our 'other side,' the unrecognizable and disowned, animal-like personality rejected by the ego. [...] [T]he trickster, in Jung's psychology, is the collective shadow figure par excellence.
[M]odern civilization provides inadequate opportunities for the shadow archetype to become individuated because in childhood our animal instincts are usually punished by parents. This leads to repression: the shadow returns to the unconscious layer of the personality, where it remains in a primitive, undifferentiated state.
Jung construed [...] the personal shadow, [as] a biological and biographical shadow unique to each person, consisting of whatever innate instincts and transpersonal potentials we have suppressed in the course of adapting to society, along with archaic and traumatic memories [of the unconscious]. [...] The personal shadow is rooted in the shadow of our social group, which has moulded our ego-ideal and world view[.]
[A]s superstition holds, a man without shadow is the devil himself. [...] The devil[...]can be regarded as God's dissatisfaction with himself, a projection of his own doubt [...] The devil here is a psychopomp[.]
So it is originally a darkness of obscurity and mystery, rather than a darkness of degeneracy, disease or 'evil'. [...] a byproduct of our tendency to repress impulses which are anathema to our ego-ideals[.]
Jung construed [...] the collective shadow, an ancestral shadow which [has been] accrued in the course of history in respect of each collectivity [...] both particularistic social groups and the human species as a whole.
Jung tended to personify the shadow as an autonomous sub-personality[.]
Learning to [day]dream [...] is advisable for the serious practitioner of shadow work, and Jung developed the technique of active imagination to this end. If we carve out a regular space—time for silence and solitude, we may discern the murmurings of another voice within us or the spontaneous formation of an image in our mind [...] afterwards we need to record our experiences to render the memorable by writing a message, drawing an image, performing a dance sequence or vocalising a melody (cf. Hannah 1991; Rowan 2005, pp. 125-147)
Apart from using dreams, Jung's method of soliciting emanations and manifestations of the unconscious was that of 'active imagination,' a method that produces a kind of waking vision or phantasy, which he then subjected to what he called 'amplification,' consisting essentially in finding 'parallels' to those images in 'collective' imaginations, such as myths, religious systems and practices, visions, alchemy, yoga[.]
The notion of enantiodromia (or reversal of [the] direction of psychic energy) following the mid-life crisis, became the foundation stone of Jung's later theory of the development of the personality.
