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In this engaging and highly readable book, Jungian analyst Michael Gellert takes the reader on a guided tour of God's "inner journey", as manifest in the principal texts of the three Abrahamic traditions of Judaism, Christianity, and Islam. Gellert depicts God's faith in the same way that Fowler depicts faith as a mode of knowing that involves a felt sense of what an-Other means to us and is presupposed in how we see the world. Through Gellert's story of God's evolving self, we see the transition in God to what Fowler refers to as a synthetic-conventional faith where reflexivity begins to emerge. Thus reading Gellert through the lens of Fowler's notion of faith reveals that he is addressing how God's faith developed over the course of His engagement with humans. [Extracted from the article]

Three experiments examine the performance of composite imaginal spatial transformations using tasks in which people perform pairs of distinct imaginal transformations either in close succession or simultaneously. The principal aim of the investigation is to determine, for both modes of composition, whether imaginal transformations combine interactively or noninteractively to determine the temporal course of imaging performance. Specifically, does the time to imagine a given composite transformation reflect the independent contributions of its component transformations, or do component transformations have different effects within different composites? Results obtained under a number of distinct task conditions are most consistent with the proposal or noninteractive composition. However, the temporal effects of particular imaginal transformations are neither consistent nor readily predictable across different task conditions. Implications of these results for analogue-spatial models, task demand, and procedural accounts of imaging are discussed. Trois experiences examinent la performance de transformations imaginales composites spatiales utilisant des taches dans lesquelles les sujects executent des paires de transformations imaginales distinctes soit en succession proche soit simultanement. Le but principal de la recherche est de determiner pour les deux modes de composition si les transformations imaginales s'unissent de facon interactive ou noninteractive ev vue de determiner le cours temporel de la performance d'imagerie. Specifiquement, est-ce que le temps pris pour imaginer une transformation composite donnee reflete les contributions independantes de ses transformations constituantes ou encore si ces dernieres ont des effets differents dans des composite differents? Les resultats obtenus dans un nombre de conditions distinctes sont pour la plupart en accord avec l'idee d'une composition noninteractive. Cepedant, les effets temporaux de transformations imaginales particuleres ne sont ni consistants ne facilement predisibles dans les differentes taches. Les implications de ces resultats pour les modeles spatizux-analogiques, les exigences de la tache et les effets proceduraux de l'imagerie sont discutees.

This paper explores dialogical currents in Jung's analytical psychology, with reference to contemporary theories of the dialogical self. The dialogical self is a notion that has gained increasing currency in psychology since the 1990s, in response to the limitations of traditional notions of the self, based on monological, encapsulated consciousness. Modern dialogical self theory construes the self as irrevocably embedded in a matrix of real and imagined dialogues with others. The theme of dialogical otherness within the self is also taken up in Jung's analytical psychology, both in the practice of active imagination and psychotherapy and in the theory of archetypes, and a dialogical approach to inquiry is evident in Jung's work from the outset. The implications of a dialogical re-conceptualization of analytical psychology and of analytical psychology for dialogical theory are considered in detail. [ABSTRACT FROM AUTHOR]