Duluth, Minnesota (OpEdNews) December 25, 2024: The prolific Swiss psychiatrist and psychological theorist Carl Gustav Jung (1875-1961) lived a long and productive life. Among other things, he is famous for calling attention to the mid-life crisis.
Jung's own mid-life crisis included his dangerous self-experimentation with what he came to refer to as active imagination - a tame-sound term for the dangerous practice of deliberately evoking visual images in a trance-like state. Jung was intrigued by and with the images he evoked from his unconscious. But he worked diligently to process the imagistic material and contain it in order to safeguard himself from allowing his unconscious to overthrow his ego-consciousness and thereby throw him into a psychotic state of schizophrenia.
Yes, when the unconscious overthrows ego-consciousness, the person experiences a psychotic state.
However, the mere threat of the unconscious possibly overthrowing his ego-consciousness did not deter Jung from his dangerous self-experimentation. His ways of processing the material from his unconscious were so successful for him that he taught his early followers to use the dangerous practice of active imagination and to process the material from the unconscious that they experienced in ways like the ways that he had used so effectively.
I am happy to report that Jung's followers today no longer urge people to practice active imagination.
Disclosure:
When I was in the Jesuit order (1979-1987), I made a thirty-day directed retreat in silence (except for the daily conferences with the retreat director) following the Spiritual Exercises of St. Ignatius Loyola (1491-1556), the Spanish Renaissance mystic founder of the Jesuit order (known formally as the Society of Jesus), during my first year (of two years) in the Missouri Province's novitiate in Denver, Colorado.
During my scheduled prayer periods each day, I engaged to the best of my ability in the meditative process of imagining the scenes of the assigned scripture passages and applying my five senses to imagining the scene to the best of my ability. This form of visualization in meditation is centuries old in the Catholic tradition.
In a directed retreat, each person on retreat meets once a day with the retreat director to report what has happened during his or her prayer periods of meditation and to receive instructions for the upcoming prayer periods of meditation (e.g., new scripture passages).
My thirty-day retreat was a memorable event in my life.
Yes, this form of visualization in meditation is also dangerous. Yes, it does involve evoking in one's imagination contents involving one unconscious. For this reason, it is dangerous.
Nevertheless, I differentiate this centuries-old form of Catholic meditation from what Jung came to refer to as active imagination. The Catholic form of visualization in meditation typically involves imagining scenes from scripture. But Jung's practice of active imagination was entirely free form.
In the case of following the terse instructions of St. Ignatius Loyola in his Spiritual Exercises, I refer to this Catholic form of meditation as guided imagistic meditation. By contrast, Jung's active imagination is not guided, but is unguided - free form.
Regarding this centuries-old form of Catholic meditation, see the Canadian Jesuit biblical scholar David S. Stanley's article titled "A Suggested Approach to Lection Divina" in The American Benedictine Review (1972): pp. 439-455. Father Stanley reprinted it as an appendix in his book titled "I Encountered God!": The Spiritual Exercises with the Gospel of Saint John (1986, pp. 311-327).
Now, the formation of Jesuits is lengthy. No doubt the lengthy Jesuit formation is designed to produce transformations in the Jesuits-in-training both before and after they are ordained priests.
For an English translation of St. Ignatius Loyola's Spiritual Exercises, see The Spiritual Exercises of Saint Ignatius: A Translation and Commentary by George E. Ganss, S. J. (1992).
For the prolific Jung's lectures about St. Ignatius Loyola's Spiritual Exercises, see the 2023 book titled Jung on Ignatius of Loyola's Spiritual Exercises : Lectures Delivered at ETH Zurich, Volume 7: 1939-1940, edited by Martin Liebscher, translated by Caitlin Stephens. (ETH = the Swiss Federal Institute of Technology in Zurich.)
At the website for Princeton University Press, we are told the following: "Between 1933 and 1941, C. G. Jung delivered a series of public lectures at the Swiss Federal Institute of Technology (ETH) in Zurich. Intended for a general audience, these lectures addressed a broad range of topics, from yoga and meditation to dream analysis and the psychology of alchemy. Here for the time are Jung's complete lectures on Ignatius of Loyola's Spiritual Exercises, delivered in the winter of 1939-1940 [i.e., long after Jung's Black Books of 1913-1932].
"These illuminating lectures are the culmination of Jung's investigation into traditional forms of meditation and their parallels to his psychotherapeutic method of active imagination. Jung presents Loyola's exercises as the prime example of a Christian practice comparable to yoga and Eastern meditation, and gives a psychological interpretation of the visions depicted in the saint's autobiographical writings. Offering a unique opportunity to encounter the brilliant psychologist as he shares his ideas with the general public, the lectures reflect Jung's increasingly positive engagement with Roman Catholicism, a development that would lead to his fruitful collaborations after the war with eminent Catholic theologians such as Victor White, Bruno de Jesus-Marie, and Hugo Rahner.
"Featuring an authoritative introduction by Martin Liebscher along with explanations of Jungian concepts and psychological terminology, this splendid book provides an invaluable window of the evolution of Jung's thought and a vital key to understanding his later work."
Jung provided a "Foreword" for the English Dominican Father Victor White's book God and the Unconscious (1952, pp. xiii-xxv).
For further discussion of Father White and Jung, see Ann Conrad Lammers' book In God's Shadow: The Collaboration of Victor White and C. G. Jung (1994).
Ong provided a "Preface" for the English translation of the German Jesuit Hugo Rahner's book titled Man at Play, translated by Brian Battershaw and Edward Quinn (1967, pp. ix-xiv). Ong's "Preface" to Rahner's book is reprinted as "Preface to Man at Play" in the anthology titled An Ong Reader: Challenges for Further Inquiry, edited by Thomas J. Farrell and Paul A. Soukup (2002, pp. 345-348).
I first heard about Victor White's book God and the Unconscious from Father Ong in the first course I took from him at Saint Louis University in the fall semester of 1964. I bought a paperback copy of White's book and read it in the summer of 1965.
End of disclosure.
Now, Jung referred to his dangerous self-experimentation as involving transformations in his psyche - transformations he came to refer to as his mid-life crisis - the transition he came to refer to as universal in all people. (I date my own mid-life crisis to 1974 - a bit more than 50 years ago now.)
As part of Jung's effort to contain the elements from his unconscious that he was deliberately evoking in himself, Jung kept a written record of his experiences in what are known as his Black Books - his notebooks.
In 2020, W. W. Norton and Company published the English translation of Jung's Black Books as the profusely illustrated seven-volume set titled The Black Books: 1913-1932: Notebooks of Transformation, edited by Sonu Shamdasani, translated by Martin Liebscher, John Peck, and Sonu Shamdasani. Because psychic transformation proceeds by degrees over time, it would be more apt to subtitle of Jung's Black Books as "Notebooks of Transformations" - in the plural.
At times, as another part of Jung's elaborate effort to contain the elements from his unconscious, he also made accompanying drawings and works of art related to the material he had evoked.
In 2009, W. W. Norton and Company published the oversized profusely illustrated 400-page book titled The Red Book: Liber Novus [Latin for "New Book"], translated by Mark Kyburz, John Peck, and Sonu Shamdasani.
On December 14, 2014, I published my OEN article about Jung titled "Jung's Successful Vision Quest."
Now, in 2012, W. W. Norton and Company published Sonu Shamdasani's profusely illustrated oversized 225-page book titled C. G. Jung: A Biography in Books.
In it, Sonu Shamdasani (born in 1962 in Singapore, grew up in England; Ph.D. in the History of Medicine, University College London's Wellcome Institute for the History of Medicine) discusses print culture (pp. 110, 127, 130, and 217n.105) in order to explain that Jung constructed an illuminated manuscript to hearken back to medieval illuminated manuscripts - the production of which eventually ended after the Gutenberg printing press emerged in Europe in the mid-1450s and started the printing of books - and print culture in our Western cultural history.
For information about Sonu Shamdasani, see the Wikipedia entry "Sonu Shamdasani" (2024).
Now, in Sonu Shamdasani's 2012 book titled C. G. Jung: A Biography in Books, he says, "In the 1950s [in 1958], the French historian Lucien Febvre noted that 'the book is a relative newcomer in Western society. It began its career in the mid-fifteenth century and its future is no longer certain, threatened as it is by new inventions based on different principles'" (Shamdasani, 2012, p. 110).
On page 218 in note 206, of Sonu Shamdasani's 2012 book, he gives the source as "Lucien Febvre, Foreword, in Lucien Febvre and Henri-Jean Martin, The Coming of the Book: The Impact of Printing, 1450-1800, trans. David Gerard (London: Verso, 1990), 10."
Ong refers to the 1958 book in French by Febvre and Martin in the "Bibliographic Note" at the end of his 1967 encyclopedia entry titled "Literature, Written Transmission of." Ong's 1967 encyclopedia entry is reprinted as "Written Transmission of Literature" in the anthology An Ong Reader: Challenges for Further Inquiry, edited by Thomas J. Farrell and Paul A. Soukup (2002, pp. 331-344).
In any event, subsequently, Shamdasani says, "From the monastic age, from the fall of Rome to the twelfth century, monasteries held a monopoly on book production and book culture. The monastic orders described the number of hours assigned for intellectual work, and copying took place in those hours. The majority of works that have survived are religious. In the early thirteenth century, the rise of universities generated a new reading public, still chiefly clerical. Guilds of scriveners or stationers formed to copy manuscripts. During this period the separation of scribes and illuminators took place. One group copied manuscripts while the other illustrated and illuminated them. One of the books most copied was Dante's Commedia. No manuscript of the work has survived, but over six hundred copies survive, some illustrated. It was works such as these that were rendered extinct by the coming of the [printed] book. As Febvre wrote:
"'[The book was] one of the most potent agents at the disposal of Western civilization in bringing together the scattered ideas of representative thinkers. It rendered vital service to research by immediately transmitting results from one researcher to another. . . . It assembled permanently the works of the most sublime creative spirits in all fields. . . . The book created new habits of thought not only within the small circle of the learned, but far beyond. . . . the printed book was one of the most effective means of mastery over the whole world.'
"As historians have noted, the book played a vital role in the development of the scientific revolution and Protestantism, and in ushering in the era of modernity. However, what was left behind were illuminated manuscripts in the form of illuminated printing. The copyists were rendered unemployed, presumably seeking work as printers" (p. 110; square brackets and ellipses here are Shamdasani's, not mine).
So let's hear it for the printed book: Bravo! Bravo! Bravo!
OK. Subsequently, Shamdasani says, "In 1924, Jung had Cary Baynes recopy this calligraphic version of [his Liber Novus manuscript] and retype it. This suggests that it [i.e., a certain specific portion of the Liber Novus manuscript] was not sufficient for him to leave it as a unique [separable] object, to be shared with a select few, but that he wished to get it [the entire Liber Novus manuscript as a whole] to a wider audience. This articulated a critical tension in the work as a whole: between, on the one hand, a desire to recover his own soul, for himself alone [remember that he was constructing the various aspects of the Liber Novus manuscript as a way to process and contain his dangerous self-experiments], and, on the other, the desire to convey something to his public. Addressed to 'my friends,' it was a book written to be read. This tension within the work is also then replicated in Jung's deliberations as to what to do with it. We see here enacted a tension between the illuminated book and the printed book that takes one to the heart of one of the prime developmental schisms within Western culture" (p. 127).
Oh my, "one of the prime schisms within Western culture." Put differently, Shamdasani is here characterizing a difference between ancient and medieval manuscript culture, on the one hand, and, on the other, print culture in our Western cultural history. For Ong, this so-called "schism within Western culture" can be understood in terms of sense ratios in the human sensorium.
For Ong's discussion of the human sensorium, see his seminal 1967 book The Presence of the Word: Some Prolegomena for Cultural and Religious History (for specific page references, see the entry on the sensorium in the "Index" [p. 356]).
Now, subsequently, Shamdasani says, "What, then, was the function of calligraphy for Jung [in Liber Novus]? The calligraphic manuscript of Liber Novus enacts a return to a pre-Reformation period. Jung was attempting to recover something lost in Western culture since before printing, prior to the age of the printed book - before the split of science and religion, prior to the rise of modern rationality and the triumph of the 'spirit of the times.' As Jung expressed in his text: 'I must catch up with a piece of the Middle Ages - within myself. We have only finished the Middle Ages of - others.' The calligraphic volume of Liber Novus not only presents certain themes, such as a critique of modernity and rationality, an attempt to recover symbol, an attempt to find fitting expression for the things of the soul, and so forth: it also attempts to embody these themes of recovery in its very form, articulating a critique of what the printed book made possible through returning to the illuminated manuscript. Hence Jung's hesitation concerning the question of publication arises within this tension and its oscillation. The house had become the threshold to the book therefore also became a vessel for holding the book's still inseparable links back to both visual amplification and the soul's oral authority" (p. 130).
With regard to Jung's critique of modernity and rationality, I would call your attention her to the words "the of Reason" - as in the Age of Reason and its understanding of rationality -- in the subtitle of Ong's massively researched 1958 book.
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).
For all practical purposes, what Jung refers to as fantasy thinking involving images and associative thinking can also be aligned with what the classicist Eric A. Havelock refers to as the Homeric mind, before the impact of phonetic alphabetic literacy, in his landmark book Preface to Plato (1963), and what Jung refers to as directed thinking involving logic can be aligned with what Havelock refers to as the Platonic mind, the outgrowth of phonetic alphabetic literacy.
In addition, for all practical purposes, what Jung refers to as fantasy thinking involving images and associative thinking can be aligned with the thinking in the Hebrew Bible, the transcription of what Ong refers to as orally based thought and expression in phonetic alphabetic literacy.
Concerning the Hebrew Bible, see my article "Walter Ong and Harold Bloom Can Help Us Understand the Hebrew Bible" in Explorations in Media Ecology (2012): pp. 255-272.
Now, I discuss Jung's account of fantasy thinking (involving associative imagistic thinking) in connection with the fantasy skit in mom-son porn videos on the internet in my OEN article titled "On Interpreting the Ubiquitous Mom-Son Porn on the Internet" (dated December 19, 2024).
Mom-son porn on the internet, like all heterosexual porn videos on the internet, always features the image of the woman's body prominently. Frequently the women who star in heterosexual porn on the internet have had breast implants to make their breasts more eye catching. The presumably male viewer is, in effect, invited to associate himself with the male(s) involved in having sex with the eye-catching woman playing the role of mom -- and to fantasize about having sex with the woman starring in the fantasy skit.
Concerning porn, also see my earlier OEN article "Texas' War on Porn, and Robert Moore's Theory of the Archetypes of Maturity" (dated December 6, 2024).
For further discussion of the Texas law in question, see Adam Liptak's article "Supreme Court to Hear Case on Texas Law Restricting Access to Porn: The law, meant to shield minors from sexual materials on the internet by requiring adults to prove they are at least 18, was challenged on First Amendment grounds" (dated July 2, 2024).
But also see Liptak's more recent article "What Would the Founders Have Thought About TikTok and Online Porn? The Supreme Court will hear arguments next month in First Amendment challenges to laws banning the app and the shielding of minors from sexual materials on the internet" (dated December 23, 2024).
Now, according to the Wikipedia entry on "Internet pornography" (2024), internet pornography started in 1995 - in other words, in what Ong refers to as our contemporary secondary oral culture. In other words, heterosexual pornography on the internet involves the male viewers in engaging in a form of what Jung refers to as fantasy thinking involving images and associative thinking.
Ah, but are there other contemporary developments that encourage men and women to engage in what Jung refers to as fantasy thinking involving images and associative thinking?
Don't movies and television shows - and DVDs of movies and television shows -- also encourage men and women viewing them to engage in what Jung refers to as fantasy thinking involving images and associative thinking in our contemporary secondary oral culture (in Ong's terminology) - especially about the stars of the movies and television shows? For examples of fantasizing about female celebrities, see the website CFake.com, which is devoted to posting fake nude images of female celebrities.
And what about J. R. R. Tolkien's fantasy novels - and other fantasy novels as involving what Jung refers to as fantasy thing involving images and associative thinking?
And what about superhero comic books as involving fantasy thinking involving images and associative thinking?
Now, in 1945, long before he formulated his thought about our contemporary secondary oral culture, Ong was decidedly censorious about comic books. See his article "Comics and the Super State: Glimpses Down the Back Alleys of the Mind," Arizona Quarterly (Autumn 1945): pp. 34-48. In Thomas M. Walsh's briefly annotated bibliography of Ong's 400 or so distinctive publications (not counting translations or reprintings as distinctive publications), Walsh (2011, p. 194) noted that Ong's 1945 article was subsequently written up in Time magazine (dated October 22, 1945, pp. 67-68) and mentioned again in Time (dated November 5, 1945, p. 23).
In any event, because Jesuit formation is such a lengthy process, Ong, who had entered the Missouri Province's novitiate in Florissant, Missouri, in September 1935, was not ordained a Jesuit priest until June 16, 1946. For a survey of Ong's life and work, see my award-winning book Walter Ong's Contributions to Cultural Studies: The Phenomenology of the Word and I-Thou Communication (2000) - winner of the Marshall McLuhan Award for Outstanding Book in the field of Media Ecology, conferred by the Media Ecology Association in June 2001.
For a sharp but well-documented critique of Ong's censorious 1945 article, see Harvard historian Jill Lepore's bestselling book titled The Secret History of Wonder Woman (2014; paperback edition, 2014, pp. 255-257); all of my page references here are to the paperback edition with its wonderfully revealing addition "Afterword: The Hyde Detector," pp. 299-322). In large part, Lepore's 2014/2015 book is an historically contextualized biography of the Harvard professor of psychology William Moulton Marston (1893-1947), the feminist and bigamist creator of the Wonder Woman comic books - and of the beautiful and busty and scantily clad Wonder Woman feminist character.
In Ong's 1945 article, he first discusses Superman comic books and Superman as character (pp. 36-37). But Ong then turns his attention to Wonder Woman comic books and Wonder Woman as a character (pp. 36-40). However, Ong does not explicitly name the Harvard psychologist, with a Harvard Ph.D., who created Wonder Woman comic books, William Moulton Marston. Nor does Ong explicitly refer to Marston's article "What Comics Do to Your Children" in Your Life (October 1939; Lepore, 2014/2015, p. 415n.44, does not provide the page range). In Lepore's 2014/2015 book The Secret History of Wonder Woman, she says, "He [William Moulton Marston] wrote an article called 'Why 100,000,000 Americans Read Comics.' It was published early in 1944 in American Scholar [1944: pp. 35-44], the journal of the Phi Beta Kappa Society" (Lepore, 2014/2015,p. 251).
Subsequently, Lepore says, "In the fall of 1939, he [William Moulton Marston] wrote an article for Your Life called 'What Comics Do to Your Children.' His defense of comics was not unlike his defense of pornography, in that anonymous letter to the editor of the New York World in 1927: on behalf of his family, 'I like comics,' Marston wrote. 'I like them the same way and for the same reasons my youngsters like them and I know that they produce in me the same general effects they cause in children.' They allowed him to fulfill his wishes. Marston loved nothing so much as fantasy" (quoted in Lepore, 2014/2015, pp. 314-315). Granted, comics involve fantasy, and they obviously also involve images.
In "Epilogue: Great Hera! I'm Back!" in The Secret History of Wonder Woman (2014/2015, pp. 281-297), Lepore brings her readers up to the 1970s. It turns out that Gloria Steinem (born on March 25, 1934) was fond of reading Marston's Wonder Woman comic books when she was a girl growing up, and she planned to feature Wonder Woman on the cover of the first issue of the new Ms. Magazine in July 1972. In this way, the character Wonder Woman became part of the feminist movement in the 1970s.
In addition, Lepore notes that in 1975, "ABC launched The New Original Wonder Woman. Set in the 1940s, it was based very closely on Marston's comics, as was its theme song," Lepore says (p. 290). Lepore even quotes the lyrics of the catchy theme song of the television show. "The star of The Original Wonder Woman was Lynda Carter, a beauty pageant winner who'd represented the United States in the Miss World contest in 1972" (p. 291).
In Lepore's wonderfully revealing "Afterword: The Hyde Detector" in the 2015 paperback edition of The Secret History of Wonder Woman (pp. 299-321), she highlights Marston's close relationship with his mother. Lepore reports, "(Marston's father died on January 17, 1923)" (2015, p. 320). "He [Marston] was an only child who came to his parents late in their lives" (Lepore, 2015, p. 302). "He [Marston] was, all along, his mother's boy" (p. 302). "She [Marston's mother] wrote him every week, and he wrote back, sending word, in letter after letter, of his accomplishments, like a schoolboy. Did Marston do everything he did for his mother's approval? Had I missed that entirely? (p. 304).
Yes, Lepore had indeed missed Marston's significant relationship with his mother as another significant relationship with a woman that influenced Marston's visionary feminism.
Now, the tall (5'9") busty young Lynda Carter (born in 1951), with body measurements of 37-27-37, and weighing 122 lbs., had a gloriously beautiful body, which she showed off in her wonderfully revealing Wonder Woman costume over the course of the four years that the Wonder Woman television series aired (1975-1979). In 2024 - around 50 years after the inception of my mid-life crisis in late February - early March 1974 -- I watched the DVD version of the 1970s Wonder Woman television series, and I became infatuated with busty young Lynda Carter's gloriously beautiful body in her wonderfully revealing Wonder Woman costume.
I was so infatuated with her that I felt mildly euphoric for about ten weeks - I stopped feeling mildly euphoric a few days before the election on November 5, 2024. But my incredibly strong infatuation with the busty young Lynda Carter as Wonder Woman persists uninterrupted to this day, I am delighted to report. Clearly the image of her on the big-screen television in the living rooms of my home in Duluth, Minnesota, on which I watched the DVD version of the 1970s Wonder Woman television series struck a deep and responsive chord in my psyche - and I look forward to receiving whatever further creative responses that my psyche may produce in my ego-consciousness.
You see, based mostly on my own recent experiences in late 2024, I have a fundamentally positive view of the great potential for humankind of images being received by our psyches and responded to by psychic materials floating to ego-consciousness and being processed productively by the recipients of the psychic materials. Yes, I also see mom-son porn videos on the internet as sources of such images that may evoke deep psychic resonances in certain male viewers' psyches. Yes, I see all forms of images as connected with what Havelock (1963) refers to as imagistic thinking (in primary oral cultures - to use Ong's terminology). However, I also recognize that not all images are images of positive events. In addition, I recognize that not all materials floating to ego-consciousness from the unconscious depths of our psyches are positive materials. In this respect, I recommend what is known in Ignatian spirituality as discernment of spirits. In the final analysis, when we are processing materials out of the unconscious in our ego-consciousness, we must exercise discernment of spirits and adjudicate the positive or negative potential of the materials and of possibly acting of the materials.
Now, my protracted experience of feeling mildly euphoric for about ten weeks in late 2024 prompted me to remember certain events earlier in my life involving my short-lived but memorable infatuation with a young woman in February-March 1974 - which she ended before the end of March 1974. This march down memory lane brought back vivid memories of certain events that have influenced my life ever since then - vivid memories that then prompted me in 2024 not only to recall them but to want to talk about them with others, which I did.
In 20/20 hindsight, I today see my feeling mildly euphoric for about ten weeks in late 2024 as a great spiritual consolation (in the terminology of Ignatian spirituality), and I now see all the memories and certain other activities associated with my experience of feeling mildly euphoric as great blessings in my life.
In any event, my incredibly strong infatuation with the busty young Lynda Carter as Wonder Woman culminated in my appreciative article "Young Lynda Carter as Wonder Woman, and Walter J. Ong's Thought" in New Explorations: Studies in Culture and Communication in the Fall 2024 issue.
Now, photos of the busty young Lynda Carter as Wonder Woman are available for twenty-first century fans of Lynda Carter to purchase at Amazon.com. Because I am an ardent fan of the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume, I have bought four photos of her, and I have framed them and displayed them in my home office in the back bedroom of my home in Duluth, Minnesota. As an ardent fan, I am infatuated with the busty young Lynda Carter's spectacularly beautiful body in her wonderfully revealing Wonder Woman costume to this day.
Now, when we consider ourselves to be a fan of another person, we are infatuated with that person to one degree or another, even though the other person may not even know us and may not know of our infatuation with her or him -- as the case may be. For example, I became infatuated with Father Ong as a teacher in the first course (of five courses) I took from him at Saint Louis University in the fall semester of 1964 - at which time I bought a copy of his 1962 book The Barbarian Within: And Other Fugitive Essays and Studies, and I began reading some of his essays -- above and beyond the ones that he had assigned us to read in it. I also bought copies of certain books he mentioned in class, and I read them on my own later on. For example, I bought and later read Albert B. Lord's 1960 book The Singer of Tales and Eric A. Havelock's 1963 book Preface to Plato - and if memory serves, I read them in the summer of 1965. In any event, my infatuation with Father Ong continues to this day. I could even say that he has been the greatest love of my life.
However, I should also say for the record that in the 1960s I was also infatuated with President John F. Kennedy and the Reverend Dr. Martin Luther King, Jr. In the 1960s, I also initially became infatuated with the work of C. G. Jung, when I read the paperback edition of Victor White's Jungian book God and the Unconscious.
Just to be clear here, I have not been seriously infatuated with any girl or woman in my life as ardently as I am ardently infatuated with the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume. But my ardent infatuation with the busty young Lynda Carter as Wonder Woman in the 2024, when I was 80 years old, was the first time in my life that I became infatuated with a beautiful Hollywood actress. As I watched the busty young Lynda Carter perform in her wonderfully revealing Wonder Woman costume in the DVD version of the 1970s Wonder Woman television series on the big-screen television in my living room in Duluth, Minnesota, she evoked a deep response in me.
Yes, to be sure, I was deeply moved by the images of her on the screen. Yes, she was playing the role of a fantasy feminist superheroine in the TV series. So I saw her as a fantasy female figure. As a fantasy female figure, the image of her on the screen that I became ardently infatuated with also evoked some deeper connections in my psyche with the feminine archetypes in my psyche.
Now, starting in the early 1990s, I was impressed with the work of the Jungian psychotherapist and psychological theorist Robert Moore (1942-2016; Ph.D. in religion and psychology, University of Chicago, 1975) of the Chicago Theological Seminary - and I also became infatuated with him and his work. With Douglas Gillette as his co-author, Moore published a series of five books in the early 1990s about the four masculine archetypes in the human psyche: (1) the King archetype; (2) the masculine Warrior/Knight archetype; (3) the masculine Magician/Shaman archetype. and (4) the masculine Lover archetype. See the "References" at the end of this essay. But Moore's theory of the archetypes in the human psyche included positing four similar feminine archetypes of maturity in the human psyche: (1) the Queen archetype; (2) the feminine Warrior/Knight archetype; (3) the feminine Magician/Shaman archetype; and (4) the feminine Lover archetype.
Late in 2024, I published the following six OEN articles about Moore's theory of the archetypes of maturity in the human psyche:
(1) "Young Lynda Carter as Wonder Woman" (dated September 3, 2024).
(2) "Robert Moore on Optimal Human Psychological Development" (dated September 17, 2024).
(3) "Thomas J. Farrell's Encore on young Lynda Carter as Wonder Woman" (dated September 30, 2024).
(4) "Thomas J. Farrell's Encore on Robert Moore" (dated October 10, 2024).
(5) "John F. Kennedy Was a Compulsive Womanizer" (dated November 29, 2024).
(6) "Texas' War on Porn, and Robert Moore's Theory of the Archetypes of Maturity" (dated December 6, 2024).
But my 2024 OEN articles about Robert Moore's theory of the eight archetypes of maturity in the human psyche, each of which is accompanied by two "shadow" forms, does not explain explicitly which archetypes, or which "shadow" forms, in my psyche were activated by my incredibly strong infatuation with the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume. Perhaps all four of the feminine archetypes of maturity in my psyche were activated by and resonating with the images of the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume - or perhaps at least certain "shadow" forms of the four feminine archetypes in my psyche were activated by and resonating with the images of the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume. After all, Wonder Woman as portrayed by the busty young Lynda Carter in the 1970s television series represents the feminine Warrior/Knight archetype, the feminine Magician/Shaman archetype, and the feminine Lover archetype. In the fantasy in the 1970s Wonder Woman television series starring the busty young Lynda Carter, Wonder Woman's mother, back on Paradise Island, is the Queen of the Amazons - making our Wonder Woman only a princess, not yet a fully formed Queen. (The backstory of Wonder woman in the 1970s Wonder Woman television series is essentially the backstory that William mouton Marston created for Wonder Woman in the comic books.)
Ah, but does this interpretation of Wonder Woman in the 1970s Wonder Woman television series mean that my incredibly strong infatuation with the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume does not involve the optimal and positive form of the Queen archetype in my psyche? No doubt this is exactly what it means. Of course, in accord with Robert Moore's theory of the "shadow" forms accompanying each archetype of maturity, this interpretation also means that I am drawing on one or the other of the two "shadow" forms of the queen archetype in my psyche: (1) The Tyrant "shadow" form of the Queen archetype; or (2) The Weakling "shadow" form of the Queen archetype - or else it means that I alternate between these two "shadow" forms of the Queen archetype in my psyche. However, I have not yet figured out how to adjudicate this matter. Suffice it to say here that I have yet to learn how to access the optimal and positive form of the Queen archetype of maturity in my psyche.
However that may be, between December 23, 2005, and December 1, 2024, certain other male fans of the busty young Lynda Carter as Wonder Woman posted 201 fake nude pics of her at CFake.com - most of which accentuate the beauty of her nude body. No doubt the busty young Lynda Carter's male fans who posted those 201 fake nude pics of her at CFake.com see her as a gorgeous fantasy (and so do I) -- and the fake nude images of her that they post at CFake.com involve what Jung refers to as fantasy thinking involving images and associate thinking. Yes, fake nude pics of her that her male fans post at CFake.com may help the viewers of those fake nude images evoke the return of the goddess in their psyches (in Edward C. Whitmont's terminology - discussed below), just as the alluring images of the busty young Lynda Carter in the 1970s Wonder Woman television series may help evoke the return of the goddess in the psyches of the viewers. (Below I will also discuss the images of gorgeous women playing the role of mom in the fantasy skits in mom-son porn videos on the internet and the desires their images evoke in male viewers.)
Now, of the 201 fake nude pics of Lynda Carter at CFake.com, my favorite is the one posted on October 31, 2022. It is ranked #12 in Popularity and #2 in Rating (the viewers may check boxes below each pic to rate it). In any event, in it, Lynda Carter as Wonder Woman is nude, and she is in propping herself up with her two hands behind her (showing her Wonder Woman bracelets on each arm) and her legs spread far apart giving us a wonderful view of her p*ssy and her boobs resting on her chest. She wears her Wonder Woman tiara, and she is looking straight out at us.
A very similar fake nude pic of her was posted on November 25, 2024. It is ranked #4 in Rating (of 201). An AI fake nude pic of the busty young Lynda Carter as Wonder Woman was posted on November 14, 2023. It is rated #1 in Popularity and #3 in Rating. The fake nude pic of the busty young Lynda Carter posted on October 9, 2019, is #1 in Rating.
For her part, the savvy Lynda Carter today maintains an email site for her fans to send her email messages: fanmail|AT|lyndacarter.comEmail address.
I do not know of any other Hollywood actresses who maintain email accounts specifically for fan mail messages. As a result of watching the busty young Lynda Carter as Wonder Woman in the DVD version of the 1970s Wonder Woman television series, I am a Lynda Carter fan, and in 2024, I sent Lynda Carter fan letters via email messages. I can attest that I have received email responses from the staff that Lynda Carter employs to respond to her fan mail. In 2024, I have also occasionally sent certain other Hollywood actresses fan letters via email messages to email accounts they maintain, but I have not received responses to any of those email messages. In any event, I sent those email fan letters to those various actresses in 2024 as one way to process the mild euphoria I experienced for about ten weeks in late 2024 as a result of my incredibly strong infatuation with the busty young Lynda Carter in her wonderfully revealing Wonder Women costume in the 1970s Wonder Woman television series. Yes, both in the case of the actress Lynda Carter and the other actresses to whom I sent email fan letters in late 2024, I was a fan infatuated with an actress in a television series that I had viewed in the DVD version of the series on the big-screen television in the living room of my home.
For further information about Lynda Carter, see the Wikipedia entry "Lynda Carter" (2024).
For further information about William Moulton Marston, see the Wikipedia entry "William Moulton Marston" (2024).
For further information about Jill Lepore, see the Wikipedia entry "Jill Lepore" (2024).
Concerning J. R. R. Tolkien, see T. A. Shippey's book titled J. R. R. Tolkien: Author of the Century (2001) and Joseph Pearce's Tolkien: Man and Myth: A Literary Life (1998).
For information about J. R. R. Tolkien, also see the lengthy Wikipedia entry "J. R. R. Tolkien" (2024).
Now, for a recent discussion of fantasy, see the self-described conservative columnist Ross Douthat's column titled "We Need a Great American Fantasy" (dated December 20, 2024) in The New York Times. In it, Douthat calls for "a quest for the Great American Fantasy story." Subsequently, he says that "someone could argue that the Great American Fantasy is actually an impossibility, since the fantasy genre is concerned with the transition from the premodern to the modern, the enchanted to the disenchanted, and America has been disenchanted and commercial and capitalist from Day 1." However, even though "someone could argue" that, Douthat says, "We do have a deep premodern past through our Native American inheritance, however obscured by conquest and dispossession its influence may be." So if the Great American Fantasy is to emerge, it will have to draw on the imagery and sense of life in "our Native American inheritance."
Now, throughout Lepore's 2014 book The Secret History of Wonder Woman, she traces of twentieth-century feminist thought. I see the twentieth-century traces of feminist thought as manifestations of what the Jungian psychoanalyst Edward C. Whitmont refers to as the return of the goddess in the psyches of twentieth-century feminists. See Whitmont's book Return of the Goddess (1982). But I also see twentieth-century feminist thought as being expressed in what Jung refers to as directed thought involving logic. But, of course, Marston also expressed his feminist thought through imagery of the busty and scantily clad Wonder Woman in his Wonder Woman comics involving fantasy thinking. The busty young Lynda Carter embodied the fantasy of Wonder Woman in the 1970s Wonder Woman television series with its catchy theme song articulating Wonder Woman's feminist spirit in directed thinking. Warner's twenty-first century DVD version of the 1970s Wonder Woman television series starring the busty young Lynda Carter brings the twentieth-century feminist fantasy superheroine alive and available to audiences in the twenty-first century - thereby perhaps also helping more people in the twenty-first century to experience the return of the goddess in their psyches as they fall in love with the busty young Lynda Carter in her wonderfully revealing Wonder Woman costume and Wonder Woman's wonderful heroics in the pilot and the subsequent 59 episodes.
Now, in the present essay, I am honoring the spirit of what Jung refers to as fantasy thinking involving images and associated thinking by engaging in my own associative thinking. As a further instance of my associative thinking, I now also want to relate what Whitmont refers to as the return of the goddess in the psyches of certain people - twentieth-century feminists, for example, -- and what Ong says about the Jungian psychoanalyst Erich Neumann's Jungian account of the eight stages of consciousness in his landmark book The Origins and History of Consciousness, translated from the German by R. F. C. Hull (1954; original German ed. 1949).
In Ong's 1971 book Rhetoric, Romance, and Technology: Studies in the Interaction of Expression and Culture, he succinctly summarizes the eight stages of consciousness that Neumann delineates:
"The stages of psychic development as treated by Neumann are successively (1) the infantile undifferentiated self-contained whole symbolized by the uroboros (tail-eater), the serpent with it tail in its mouth, as well as be other circular or global mythological figures [including Nietzsche's imagery about the eternal return?], (2) the Great Mother (the impersonal womb from which each human infant, male or female, comes, the impersonal femininity which may swallow him [or her] up again), (3) the separation of the world parents (the principle of opposites, differentiation, possibility of change, (4) the birth of the hero (rise of masculinity and of the personalized ego) with its sequels in (5) the slaying of the mother (fight with the dragon: victory over primal creative but consuming femininity, chthonic forces), and (6) the slaying of the father (symbol of thwarting obstruction of individual achievement, [thwarting] what is new), (7) the freeing of the captive (liberation of the ego from endogamous [i.e., "married" within one's psyche] kinship libido and the emergence of the higher femininity, with woman now as person, anima-sister, related positively to ego consciousness), and finally (8) the transformation (new unity in self-conscious individualization, higher masculinity, expressed primordially in the Osiris myth but today entering new phases with heightened individualism [such as Nietzsche's overman] - or, more properly, personalism - of modern man [sic])."
Ong also sums up Neumann's Jungian account of the stages of consciousness in his (Ong's) book Fighting for Life: Contest, Sexuality (Gender], and Consciousness (1981, pp. 18-19; but also see the "Index" for further references to Neumann [p. 228]), the published version of Ong's 1979 Messenger Lectures at Cornell University.
Now, what Whitmont refers to as the return of the goddess in the psyches of many people today involves Neumann's stage (7) of the eight stages of consciousness: "(7) the freeing of the captive (liberation of the ego from endogamous kinship libido and the emergence of the higher femininity, with woman now as person, anima-sister, related positively to ego consciousness)."
Now, President Donald Trump is a misogynist, and so are his many male MAGA followers. They have not yet experienced stage (7) of the eight stages of consciousness that Neumann delineates - nor have they yet experienced what Whitmont refers to as the return of the goddess in their psyches.
Ah, but what can I now say about the ubiquitous mom-son porn on the internet? The ubiquitous mom-son porn on the internet clearly involves the image each male viewer has in his own psyche of his real mom - and each male viewer of mom-son porn on the internet has libido energy in his psyche that is married to the image of his real mom in his psyche. This is what is meant by endogamous kinship libido. So the fantasy skits in mom-son porn videos involve an alluring mom figure in the porn video. The woman playing the role of the alluring mom may be any age over 18, just as the man playing the role of the son may be any age over 18. In the fantasy skits, the roles of mom and son typically involve the son referring to the woman as his mom. Moreover, I know of at least two women who have made many mom-son porn videos with their real-life husbands - who are clearly not young enough to looks like their sons (such is the power of words to establish the fantasy in the fantasy skits in mom-son porn videos; if you were to mute the soundtrack, you'd view two adults over 18 having sex without the titillation of the incest theme of mom and son).
Despite the ubiquity of mom-son porn videos on the internet, I do not see them as a threat to the centuries-old taboo against mom-son sexual relations. However, I do see the taboo against mom-son sexual relations as adding to the titillation of mom-son porn videos on the internet. No doubt the added titillation comes from the resonance that male viewers of mom-son porn feel with their own subconscious memories of their real-life moms. In addition, the male viewers of mom-son porn videos may feel a certain resonance with the feminine archetypes in the collective unconscious in the psyches. In some way, this deeper resonance strikes me as tapping into the mother-figure as a symbol of rebirth for the male viewers of mom-son porn videos on the internet. See Jung's chapter "Symbols of the Mother and of Rebirth" in his book Symbols of Transformation, translated by R. F. C. Hull, second edition (1967, pp. 207-273) - which strikes me as an optimistic interpretation of the ubiquitous mom-son porn on the internet. In effect, the boys and men who view mom-son porn on the internet are drawn to it because of their desire for rebirth. Ah, but why do they desire rebirth? What exactly is the appeal of their desire for rebirth? Rebirth of their lives as what - or to what? Or is the symbolically expressed desire for rebirth actually expressing a desire for rebirth of one's spirit and life? After all, who wouldn't welcome a rebirth of one's spirit and life?
So in the psyche of each male viewer of mom-son porn videos on the internet, the image of the alluring mom figure in the video evokes the image of the male viewer's real mom in his psyche -- and the unknown-to-him feminine archetypes in his psyche as well. Judging by the sheer popularity of mom-son porn videos on the internet, I would have to conclude that the psychological experience of the interaction of the image of the mom figure in the porn video with the image of each male viewer's real mom must be an enlivening experience for each male viewer - based as it is in what Jung refers to as fantasy thinking involving images in the fantasy skit and associative thinking in each male viewer's psyche.
For the sake of discussion, let's say that my analysis of the psychodynamics involved in each male viewers experience of watching mom-son porn videos on the internet is fundamentally correct. Now, the goal of stage (7) of the eight stages of consciousness that Neumann describes is "the liberation of kinship libido." In my analysis of the psychodynamics in each male viewer's psyche, I have only posited the interaction of the image of the mom figure in the fantasy skit and the male viewer's image of his real-life mom in his psyche. Does this interaction automatically result in "the liberation of kinship libido" in his psyche? No, it probably does not.
This observation brings me back now to Jung's elaborate processing of materials from his unconscious that he evoked through his practice of active imagination. I said that he employed certain ways of processing the materials from his unconscious that he had experienced through his active imagination. I also said that he engaged in such elaborate processing to contain his experience of unconscious materials.
Now, I suspect that most men who watch mom-son porn videos on the internet do not think that they are evoking their unconscious memories of their real-life moms when they view the fantasy skits in mom-son porn videos on the internet. Consequently, the men viewing the fantasy skits in mom-son porn videos most likely do not feel that they need to process their experiences of watching mom-son porn videos on the internet. Therefore, they most likely are not going to experience "the liberation of kinship libido" in their psyches as a result of viewing mom-son porn videos on the internet.
Ah, but are their ways that they could process their viewing experiences and thereby experience "the liberation of kinship libido" in their psyche? In other words, are there practices akin to Jung's practices of processing the materials from his unconscious? Frankly, I do not know if there are. However, if there are, those practices would be worth knowing about - and would be worth publicizing.
Ah, but the possibility of experiencing "the liberation of kinship libido" in one's psyche raises another consideration: Would men who have experienced "the liberation of kinship libido" in their psyches still want to view mom-son porn videos on the internet? If not, why not? If so, would their viewing pleasure in watching mom-son porn videos somehow be different? If so, how so?
In conclusion, Jung was a pioneering thinker. His account of fantasy thinking involving images and associative thinking can help us get our cultural bears in our contemporary secondary oral culture (in Ong's terminology). In any event, thank you for reading my extremely associative and wide-ranging essay.
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(Article changed on Dec 28, 2024 at 2:05 PM EST)
