Next, Shamdasani's text features the subheading "From Visionary Experiences to Psychology" (p. 130). In volume 1 of Jung's Black Books (2020), Shamdasani's introductory essay is titled "Toward a Visionary Science: Jung's Notebooks of Transformation" (p. 11).
Next, in Shamdasani's 2012 book, he says, "Liber Novus had emerged out of a crisis of language, and out of a parallel quest to find fitting expression for speaking to and about the soul. In his publications from 1916 onward, Jung returned to conceptual language to attempt to convey some of the insights from his visionary experiences in a manner acceptable to a medical and scientific audience. At the same time, his language became more inflected, bearing certain traces of his literary experimentation. In place of the ordered structure of a work such as The Psychology of Dementia Praecox [1909], image, figuration, and personification came to play an increasing role in Jung's work. In place of an argumentative logic, his texts tended to follow an associative logic of the image [i.e., fantasy thinking involving images].
"In 1928, Jung noted that he had eschewed an abstract terminology, because with such previously inaccessible matters [as the matters involved in his visions], intellectual formulations would not be of use. Consequently, he noted, 'I am therefore much more interested in pointing out possible ways to such experience than in devising intellectual formulae which, for lack of experience, must necessarily remain an empty web of words'" (pp. 130-131).
Now, in the late 1950s, the American Jesuit Renaissance specialist and cultural historian and pioneering media ecology theorist Walter J. Ong (1912-2003; Ph.D. in English, Harvard University, 1955) of Saint Louis University published his media ecology account of the emergence of print culture in our Western cultural history in his scholarly book titled Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason (Harvard University Press; for specific pages references to the aural-to-visual shift in cognitive processing in our Western cultural history, see the "Index" [p. 396]).
I discuss Ong's philosophical thought in his massively researched 1958 book in my somewhat lengthy OEN article titled "Walter J. Ong's Philosophical Thought" (dated September 20, 2020).
Now, in the early 1960s, the Canadian Catholic convert Marshall McLuhan (1911-1980; Ph.D. in English, Cambridge University, 1943) of St. Mike's at the University of Toronto also published a pioneering media ecology account of print culture in out Western cultural history titled The Gutenberg Galaxy: The Making of Typographic Man (sic) (1962; for specific page references to Ong's publications about Ramus and Ramist logic, see the "Bibliographic Index" [pp. 286-287]).
Young Marshall McLuhan taught English at Saint Louis University from the fall of 1937 through the spring of 1944. As part of young Walter Ong's lengthy Jesuit training, he was sent to Saint Louis University for graduate studies in philosophy and English. He took at least one course there from McLuhan, and McLuhan also served as the director of Ong's 1941 Master's thesis on sprung rhythm in the poetry of the Victorian Jesuit poet Gerard Manley Hopkins (1844-1889).
Ong's 1941 Master's thesis was published in 1949, slightly revised, in a collection of essay about Hopkins by Jesuits as "Hopkins' Sprung Rhythm and the Life of English Poetry." Thanks to Paul A. Soukup's skill at typesetting, the 1949 version of Ong's essay is handsomely reprinted in An Ong Reader: Challenges for Further Inquiry, edited by Thomas J. Farrell and Paul A. Soukup (2002, pp. 111-174).
However, for a more up-to-date account of Hopkins' sprung rhythm, see James I. Wimsatt's book Hopkins's Poetics of Speech Sound: Sprung Rhythm, Lettering, Inscape (2006).
At that time when Ong wrote his 1941 Master's thesis at Saint Louis University, McLuhan was working there on his 1943 Cambridge University doctoral dissertation about the English Renaissance writer Thomas Nashe (1567-1601). McLuhan's 1943 Cambridge University doctoral dissertation was posthumously published, unrevised but with an editorial apparatus, as the book titled The Classical Trivium, edited by W. Terrence Gordon (2006; for specific page references to Ramus, see the "Index" [p. 274]).
According to Ong, McLuhan was working on the material that he later published in his 1951 book The Mechanical Bride: Folklore of Industrial Man (sic) the entire time that Ong knew McLuhan at Saint Louis University.
Now, in 1912, Jung published the book titled Transformations and Symbolisms of the Libido.
In 1916, the American medical doctor Beatrice M. Hinkle (1874-1953) of Cornell University translated it into English as the book titled Psychology of the Unconscious.
In 1952, Jung substantially revised and re-titled his 1912 book as Symbols of Transformation, translated by R. F. C. Hull (second edition, 1967). In it, Jung differentiates two fundamentally different kinds of thinking: (1) fantasy thinking (involving associative imagistic thinking); and (2) directed thinking (involving logic) (pp. 7-33; for specific page references, see the entries on fantasy(ies) and fantasy-thinking in the "Index" [p. 515] and thinking [p. 551] and thought [p. 552]).
Now, because Jung sees directed thinking as involving logic, I would also point out here that Ong's massively researched 1958 book Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason, mentioned above, is a history of the formal study of logic from Aristotle down to Peter Ramus and beyond.
For all practical purposes what Jung refers to as fantasy thinking involving images and associative thinking can be aligned with what Ong refers to as orally based thought and expression in his most widely read and most widely translated book Orality and Literacy; The Technologizing of the Word (1982, pp. 36-57).
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