Mary the God-bearer is explored symbolically from the perspective of the archetype of the Great Mother as described by Carl Jung and Erich Neumann. Drawing from primordial and collective origins, the dark and the chthonic as well as the light and spiritual aspects of the archetype are considered as represented in the work of fifteenth century Italian painter Pierodella Francesca. Piero's images of Mary incorporate body as well as spirit, power as well as vulnerability, death, as well as life and rebirth. The feminine presence of the Great Mother archetype creates a powerful dynamic on an unconscious level in both men and women that culminates in radical transformation.
Journal of Religion and Health is an international publication concerned with the creative partnership of psychology and religion/sprituality and the relationship between religion/spirituality and both mental and physical health. Founded in 1961 by the Blanton-Peale Institute, which joins the perspectives of psychology and religion, Journal of Religion and Health explores the most contemporary modes of religious thought with particular emphasis on their relevance to current medical and psychological research. Using an eclectic approach to the study of human values, health, and emotional welfare, this journal provides a scholarly forum for the discussion of topical themes on both a theoretical and practical level. This multidisciplinary and interdisciplinary journal publishes peer-reviewed original contributions from scholars and professionals of all religious faiths. Articles may be clinical, statistical, theoretical, impressionistic, or anecdotal.
Springer is one of the leading international scientific publishing companies, publishing over 1,200 journals and more than 3,000 new books annually, covering a wide range of subjects including biomedicine and the life sciences, clinical medicine, physics, engineering, mathematics, computer sciences, and economics.
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