In The Idea of the Holy Rudolph Otto terms being awed when experiencing a visitation of the divin... more In The Idea of the Holy Rudolph Otto terms being awed when experiencing a visitation of the divine "numinous." Jung and Jungian scholars retain the characteristic of "awesomeness" from Otto's concept of numinosity, 1 but Jung takes Otto's religious use of the term and psychologizes it, seizing upon it as an explanation of an experience of a power greater than one's will within oneself. He says, "Numinosity is wholly outside conscious volition" (On the Nature of Psyche; CW 8, par. 383). For Jung, as Roderick Main points out, experience is the factor that allows a focus on psychology. 2 Because experience is the basis of theorizing, religion is not a necessary or exclusive framework for exploring the psychological realm of numinous experiences. Imaginative literature is rich with accounts of numinous experiences. Besides offering a wealth of specific instances for reflection and analysis, literature also offers readers possible access to numinous energy through the subjective experience of reading imagined narratives. Crucially, literature functions as a conduit between unconscious and conscious understanding and bridges individual and collective consciousness. Jung addresses these functions of literature when he asserts in "Psychology and Literature" that "creative work arises from unconscious depths" (CW 15, par. 159) and claims in "On the Relation of Analytical Psychology to Poetry" that "just as the one-sidedness of the individual's conscious attitude is corrected by reactions from the unconscious, so art represents a process of self-regulation in the life of nations and epochs" (CW 15, par. 151). One might explore numinous experiences rendered in literature through a variety of psychological questions, such as their ascribed or implied source (archetypes being one possible answer) or their relevance to the cultural unconsciousness of the times in which they were written or their relevance to the cultural unconsciousness of the times in which they are being read. I wish to focus on the question that inspired Jung, that is, the role of numinous energy in the process of transformation. He was quite aware that the results of numinous experiences need not always be positive. By the time he dictates Memories, Dreams, Reflections, he treats as commonplace the perception that "the numinosum is dangerous because it lures men to extremes. . ." (154). Whether a "numinosum" leads to integration of unconscious material or not and of what any integration might consist depends on many factors. Literature, because of its multitude of Journal of Jungian Scholarly Studies 2 renderings of numinous experiences, has the capacity to manifest complexity concerning successful and unsuccessful attempts at their integration. Further, literature is an endless source of symbols in narration, and, as Warren Colman points out in his essay on the self, it is the "numinosity of symbols" that allows Jung to claim psychological facticity for psychological experiences (158). In other words, symbols can convey numinous experience, not as scientific evidence, but as phenomenological, subjective reality. Readers of literature have access to this symbolic level of psychological experience. Thus, because of literature's extensive renderings of numinous experiences in symbolic forms, a focus on numinous moments in a text can yield an everunfolding understanding of the complexity of the factors affecting both positive and negative transformation. The understanding can be ever-unfolding because each generation's experience and context allow literature from previous times to be understood anew. Further, each reader's unique experience and perspective mean previously unrecognized aspects of unconscious manifestation latent in a text may be perceived by the reader capable of grasping it. In sum, reading literature for renderings of numinous experiences can inform generations of readers about causes, effects and factors affecting successful, or partial, or failed processes of integration of unconscious material revealed through numinous experience. For the purposes not only of identifying but of interpreting numinous experiences in literature, I wish to emphasize the characteristic of revelation in the sense not of divine apparition, but of possibly transformative understanding. Many such moments of revelation are iconic in western literature: in Oedipus Rex, Oedipus's realization that he is the murderer of his father, husband of his mother; in King Lear, Lear's grasping the tragic consequences of his lack of consciousness as he cradles the dead Cordelia in his arms; in Moby Dick, Ahab's feeling himself crucified among the harpoon ropes atop the white whale; in The Awakening, Edna's tearful understanding that sexual fulfillment apart from love is a "cup of life" (83). To illustrate the wide applicability of reading for psyche through focus on literary renderings of numinosity, I have chosen lesser known tales-a religious, a secular, and a psychological framing of numinous moments. Each literary portrayal, through plot, characterization, and symbol yields specific understanding of the general relationship of numinous experiences to psychological transformation. Flannery O'Connor's short story, "Revelation," announces by its title that the story concerns a numinous encounter. The word "revelation," while it can be used to refer to our more ordinary insights, is traditionally used to refer to communications from God, and I have selected this story because it is a clear instance of a religious perspective on numinous experience. It is characterized by a profound optimism in the face of profound human unconsciousness. 3
Once Joseph Henderson opened up the conceptual territory of a cultural unconscious, psychological... more Once Joseph Henderson opened up the conceptual territory of a cultural unconscious, psychological frameworks such as archetypes, complexes, shadow, and integration became ways of thinking about cultural unconsciousness. Literature, too, addresses this dimension. Because it draws on the unconscious for materials, imaginative literature offers cultures what dreams offer dreamersimages and narratives potent with possible consciousness. Reading these narratives through Jungian frameworks can offer insight about integrating cultural unconscious materials-a valuable contribution Jungian thought could make to the 21 st century. For Americans, one of the classic fictions depicting such a path is James Baldwin's "Sonny's Blues." American cultural shadow, a realm of unconsciousness so threatening and multifarious as to demand our most intense attention, has from the beginning been rife with racism practiced against people of color, beginning with the near extermination of the peoples living on the American continent prior to the European immigration. Samuel Kimbles underscores the unreconstructed form originating in slavery: "Moral conflict in the larger society related to race relations is an open cultural wound, a continuation of dynamics from slavery that gets replayed daily in race relations in current society.. ." (207). A continuous enabler of American racism has been the American posture of innocence. Flying under various flags of righteousness, racism has festered and thrived in American culture's unconscious psyche while it has been and continues to be acted out in myriad forms of injustice in society. The African-American writer James Baldwin was a tireless seer who tried again and again to remove the blinders from American eyes. In essays such as Notes of a Native Son and The Fire Next Time he unflinchingly depicts the reciprocal hatred incited by racism. He details the murderous rage that not being seen as a real individual human being incites, writes of a "cosmic vengeance" (105) brewing. How amazing, moving, it is then, when he suggests at the end of The Fire Next Time that consciousness might save Americans, black and white (105). Baldwin makes his own contribution to this redemptive aspiration in "Sonny's Blues," a portrait of the psychologically transformative power of an artist dealing
... She says of her grandmother's dream for her: Some people could look at a mud-puddle and ... more ... She says of her grandmother's dream for her: Some people could look at a mud-puddle and see an ocean with ships. But Nanny had faken the biggest thing God ever made, the horizon . . . ... Social values specifically deteriorate her marriage with Joe. ...
This journal and its contents may be used for research, teaching and private study purposes. Any ... more This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, redistribution , reselling , loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden.
Journal of Jungian scholarly studies, Jun 11, 2019
Given Jung's understanding of emergence as unconscious materials unattended emerging into lived l... more Given Jung's understanding of emergence as unconscious materials unattended emerging into lived life, the election of Donald Trump to the presidency of the United States calls for analysis of unconscious collective attitudes. Trump's enthusiastic supporters embrace his narcissism, including his claims to almighty power, obedience, and adoration, claims characteristic of the God image of the Judeo-Christian Father almighty. This essay proposes that Americans socialized to worship that image of God have not been aware that they are divinizing narcissistic traits. Charles Brockden Brown's novel Wieland or the Transformation, An American Tale (1798) portrays such a God and a phantom narrative unveiling murderousness in the narcissistic divine Father-son relations. Brown concludes with a call for the development of "juster notions" of divinity. Recognizing the latent murderousness in the narcissistic image of God the Father almighty potentially leads to recalling that projection and collectively accepting responsibility for inner murderousness.
In its founding moment, America failed the dream of life, liberty, and equal justice for all. Wha... more In its founding moment, America failed the dream of life, liberty, and equal justice for all. What Murray Stein calls the European "naked power shadow" generating the acquisition of the Americas (262) manifested in our white forefathers" choice to maintain slavery in order to graft the colonies into the United States. The history of black people in America both before and since emancipation bears witness to the distance between the American dream and the reality of their lives. 1 Toni Morrison"s Pulitzer-prize winning novel, Beloved, calls the history of slavery back as a ghost Americans have buried in darkness. Part of the darkness, it suggests, is the limits of the American dream as first articulated in the Declaration of Independence: life, liberty, and the pursuit of happiness. That articulation fails to include the ideal that human love be extended to all human beings, love in the sense of affirming and assisting the existence of the other for his or her own sake and for the sake of a just community. I do not know a western name for this kind of love. It is not the intimate love we have for those we personally know. We cannot call it civic love because it is not limited to citizens. Probably the closest word we have is agape, but agape has come to mean superabundant, even divine love. The kind of love I am trying to talk about does not depend upon any particular understanding of divinity, but rather upon a particular understanding of humanity. The closest word I know is an African word, "ubuntu," which, according to the African Concise Oxford Dictionary, means: "a spirit of fellowship, humanity, and compassion. . ." (qtd. in Berg 244). What the imagined, articulated American dream lacked was such a spirit, and without it, Americans corrupted the pursuit of the American dream by institutionalizing slavery in the Constitution. The love I"m talking about-let me call it American-dream love-cannot coexist with slavery. Slavery is the antithesis of such love. As Jung remarked, "where force rules there is no love. . ." (CW 17, 309). As the title indicates, Morrison"s novel essentially explores questions of love. One of the conundrums the novel presents is Morrison"s choice of a largely forgotten historical incident-the murder by Margaret Garner of her children to avoid their return to slavery-as the heart of her exploration of love. 2 The story of the main character, Sethe, is based on Margaret Garner"s. As an escaped slave, Sethe murders one of her children and attempts to murder the other three when they Journal of Jungian Scholarly Studies 2 are threatened with capture. Morrison"s creation of Sethe"s infanticide as the pivotal incident through which to imagine the subjective lives of slaves before, during, and after the Civil War suggests ghosts haunting not only the dominant American cultural unconscious, but also the cultural unconscious of the African-American community. The murdered infant haunts her mother and her family as a baby until she suddenly appears as a young woman who says that her name is Beloved. She is a psychic phenomenon in fictional flesh. Jung, when commenting on Faust, points out that Goethe, to judge from the dedication, ""Once more you hover near me, forms and faces,"" is claiming that "this is what actually happened," giving witness to "the objectivity of psychic experience" (CW 17, 212). The ghost, Beloved, is the psychic experience of Toni Morrison written so as possibly to become the psychic experience of her readers. Through Beloved, Morrison is raising from the cultural unconscious of America and from that of African-Americans the victimized energy born of the institution of slavery. Her novel is no mere historical recreation, but is what Clarissa Pinkola Estés calls a sacred story, that is, a facing of evil for purposes of healing (12). Not a product of memory, Beloved is a subjective creation that "emerges. .. to challenge a continuous process of forgetting, refusal and evasion" (Guth 326). Beloved is a ghost promising transformation. Jung says of spirits: "Spirits are complexes of the collective unconscious which. .. seek to replace an inadequate attitude of a whole people by a new one" (CW 8, 597). Beloved"s characterization and her effects upon the other characters in the novel illuminate the unconscious legacy of slavery in ways that can engender new consciousness about love in both the dominant and the African-American cultures. Many a critic has read Beloved as if it were an actual historical account of slave subjectivity. 3 Certainly Morrison draws upon actual history, and not only in her adapting of the Margaret Garner story. Carl D. Malmgren points out that Morrison "makes reference to the persecution of the Cherokee Indians. .. , to the history of Cincinnati, to the activities of the Ku Klux Klan in the 1870"s, to. .. the Fugitive Bill, the Settlement Fee, manumission, Dred Scott, Sojourner Truth, the underground railway, [and] the Colored Ladies of Delaware, Ohio" (192). Morrison even makes use of iconography such as the famous photograph of the slave known as Gordon showing his back as a welter of scars (Keiser 1651-52), an image she transfers to the back of Sethe. But it is essential to recognize that Beloved is not history. Beloved is an imagination of the subjectivity of slaves passing from slavery to freedom. The fact that Morrison"s transmission of unconscious material occurs a century later augurs meaning for African-Americans and all Americans now. Jung perceived the connection of art, focusing on literary art, and the collective unconscious in his essay, "On the Relation of Analytical Psychology to Poetry"
Journal of Jungian scholarly studies, Jun 12, 2018
This transdisciplinary study argues that the fury of President Trump's base can be understood as ... more This transdisciplinary study argues that the fury of President Trump's base can be understood as a victim complex, one caused by the erosion of the dominance of white males that existed at the founding of America. The preamble of the Declaration of Independence became an iconic articulation of the American dream, unintentionally establishing a contradiction between the ideas that all people are created equal and that individuals have an unlimited right to pursue happiness. Analysis of Ahab of Herman Melville's Moby-Dick reveals connections between Ahab's victim complex and the behavior and attitudes of Trump's base. Analysis of Ishmael's survival suggests ways the American dream as articulated in the Declaration of Independence needs to be dreamed forward. His survival through interdependence and an embrace of diversity suggests a way to revision the American dream so as to incorporate psychological determinants, including the limitations of the ego, in the understanding of freedom and happiness. Revisioning the individual pursuit of happiness as limited by the common good furthers the dream of equality under the law and could help free white supremacists from their entrapment in a victim complex convincing them of their entitlement to dominate others.
In The Spirit in Man, Art, and Literature, Jung made a startling claim for "visionary" imaginativ... more In The Spirit in Man, Art, and Literature, Jung made a startling claim for "visionary" imaginative literature. Ascribing the source of art to the "collective unconscious" ("The Relation of Analytical Psychology to Poetry" par. 125), he asserts that visionary literature functions for the collective as dreams do for individuals; it presents needed compensatory vision to collective consciousness ("Psychology and Literature" pars. 161-62). In other words, he claims that visionary imaginative literature has the power to help the collective psyche selfregulate. Reflecting on that claim and on human history, I cannot help but question literature's efficacy as a compensatory force. But perhaps the trouble, so to speak, lies not in the literature, but in the readers. If we read with rigid ego boundaries, we are performing what I call ego readings, thus cutting ourselves off from unconscious contents in imaginative literature. I wish to explore causes and kinds of ego readings and to suggest some ways to slip free of them so that we may read for psyche. Jung advises us that to benefit from the vision made accessible to collective consciousness in art we must "let a work of art act upon us as it acted upon the artist," no doubt good advice ("Psychology and Literature" par. 161). Apparently Freud and Jung were able to do so. They both found fundamental inspiration and insight for their psychological theories in their readings of imaginative literature. Freud famously brought Sophocles' portrayal of a son's unconscious weddedness to his mother to collective consciousness. Jung in Memories, Dreams, Reflections credits Goethe's Faust with his insight into the existence of shadow (235). 1 Fortunately, one doesn't have to be a Freud or a Jung to receive some of the psychological enlightenment literature has to offer. I myself came conceptually upon the existence of the realm of psyche beyond ego in my reading of imaginative literature long before I had read Jung's descriptions of the unconscious. I learned of the confines of ego through a rather mystical experience reading Mark Twain's "The Mysterious Stranger," an ego-disorienting story that for an all-too-brief hour freed me utterly from the ego constraints of fear, from certainty of my world view and the assumptions upon which it was based, and from habitual unconsciousness of my mortality. It was an amazing experience that made the multiple dimensions of psyche real beyond dispute for me.
Written nearly 2,500 years ago, Sophocles's Oedipus plays continue to offer riddles for understan... more Written nearly 2,500 years ago, Sophocles's Oedipus plays continue to offer riddles for understanding psyche. The plots of the plays are well known. Oedipus Tyrannus1 presents a powerful ruler faced with grappling with the ego-shocking discoveries that he unawares killed his father, married his mother, fathered children by her, and thus became a pollution to his city. In his final dramatic creation, Oedipus at Colonus, Sophocles renders his vision of how Oedipus has psychologically dealt with these discoveries and how his efforts are viewed by the gods. In this play, Oedipus has abjured responsibility for his parricide and incest and subsequently retaliates against his sons who did not help him when he was ostracized by cursing them with fratricide. He then exercises a hero's power to bless and is taken up with the goddesses of vengeance, long known as the Furies. This divine rewarding of Oedipus's repetition of his father's filicide illustrates the acceptance in the dominant Greek culture of the right of retaliation, the talio. Mary Whitlock Blundell explains that the Greek "twin principles 'Help Friends and Harm Enemies' are fundamental to the structure of Oedipus at Colonus" (62). She points out that Oedipus justifies both his killing of Laius and his cursing his sons with death in terms of the concept of "the right of retaliation within the family" (64). The value of retaliation was not, however, without its counter in Greek culture.2 Plato's early dialogues Crito and Protagorus contain the idea of not retaliating as virtuous. As in other realms of ideological conflict raised by the skepticism of the Sophists, Sophocles's plot in Oedipus at Colonus affirms traditional, conservative views. In Oedipus at Colonus he uses the Greek divinization of vengeance through the goddesses, the Furies, to divinize the avenging human, Oedipus. And therein lies the riddle of the Oedipus plays for readers who live in an era when unconscious psyche is grasped as real and when the challenge of integrating unconscious materials is understood as a human task of development, both personal and collective. Since knowing what has previously been unconscious is not the same as integrating that material, Oedipus is tasked with dealing responsibly with his self-discoveries, and Oedipus at Colonus consists of Sophocles's vision of what Oedipus psychologically has come to. Sophocles's divinizing vision of Oedipus has Journal of Jungian Scholarly Studies 2 primarily been read as a resolution of Oedipus's previously troubled relations with the gods.3 In contrast, I read this divinization in terms of what it suggests about psychic integration of material horrendous to the ego, with a particular focus on the meaning of responsibility for guilt acquired unconsciously. This exploration leads to the argument that Sophocles divinized a cultural complex, a divinization that still imbues value systems today, including certain interpretations of the concept of archetype. The version of archetype I wish to challenge is given classical definition by Edward Edinger in his series of lectures "A Psychological Approach to Greek Mythology." Edinger says that myths are "the self-revelations of the transpersonal or archetypal psyche" (Lecture 1A). In response, I wish to insist that the myths differ among themselves, offering contradictory "self-revelations." Edinger deals with their differences by claiming that "only the archetypally relevant survives" (Lecture 1A). This criterion privileges dominant-culture selections among-and interpretations of-myths as timeless, a familiar Jungian bias that David Tacey critiques in Remaking Men. Tacey argues that "because of the illusory 'stability' and purported 'timelessness' of the archetypes, Jung has proved attractive to the conservative opponents of change, and the revolutionary possibilities of Jungian theory have been denied" (3). The revolutionary possibilities of Jungian theory, I submit, are, as Susan Rowland has frequently articulated,4 contained primarily in the creative powers of the unconscious psyche. In Jung's words, "the unconscious. .. is the very source of the creative impulse" (CW 8, par. 339). My readings depend upon the premise that imaginative literature is an expression of those creative powers, an expression that is not limited by the intentions of the artist, the cultural context of the writing of the work, or the perspectives of any particular culture and era of those reading it. That is why works such as Sophocles's Oedipus plays have the power to continue to unfold understanding of psyche. As psyche takes shape in differing cultures, eras, and individual readers, the latent meanings of imaginative works can continue to yield new understanding. Jung postulates the role of the unconscious in the creation of what he terms "visionary literature" (CW 15, par. 139). He speaks of art as a "creative autonomous complex" whose expression is an "image. .. from the deepest unconsciousness" serving in a "process of self-regulation in the life of epochs and nations" (CW 15, par. 122 and 130-31). Consequently, art makes possible realization of psychic realities of which audiences have been unconscious. Jung claims that through these images art presents "countless typical experiences of our ancestors" (CW 15, par. 127). He writes: "In each of these images there is a little piece of human psychology and human fate, a remnant of the joys and sorrows that have been repeated countless times in our ancestral history, and on the average follow ever the same course" (CW 15, par. 127). Jung's emphasis on repetition and
Introduction: Literature as revelatory of psyche On the edge-the theme of crisis. 1 The survival ... more Introduction: Literature as revelatory of psyche On the edge-the theme of crisis. 1 The survival of our species is in doubt. As Jung said in response to the atomic bomb, "It is now a question of existence or nonexistence. . ." ("Epilogue," Essays on Contemporary Events 90). In addition to the possibility of nuclear holocaust, we face the human threats to earth"s life-support systems. Distinguished Jungian thinkers have offered hopeful responses to these crises. At the 2010 joint IAJS and JSSS Conference, for example, Roger Brooks detailed the healing potential of communal grief, and Jerome Bernstein articulated his vision of the evolution of psyche as it compensates the power-engorged Western ego through the development of "borderland personalities." We know Jung"s prescription. After acknowledging that "the principal and indeed the only thing wrong with the world is man" ("After the Catastrophe," Essays 72), he placed his hope in the development of consciousness in individuals, in particular development of self-consciousness about one"s own shadow. He writes: "But in reality only a change in the attitude of the individual can bring about a renewal in the spirit of the nations.. .. We must begin by breaking [the power principle] in ourselves" ("Epilogue," Essays 75). Daunting as this hope is, I am presenting even bleaker visions of human survival through Franz Kafka"s Metamorphosis and Tadeusz Borowski"s This Way for the Gas, Ladies and Gentlemen. Imaginative literature as a field is seemingly far removed from issues of species survival. As a literary critic, my path to formulating this topic has been a long one. When I first began analysis, I discovered that the methods I had learned for reading literature worked for interacting with dreams-that is, a symbolic perspective that ponders the exact sense representations of the images and words, their narrative sequences and juxtapositions, textures and moods, allusiveness. This discovery led me back to literature, but this time literature understood as itself a revelation of what had been unconscious, either to me personally or perhaps to the collective. This approach was confirmed by authors who claimed that they served as channels for materials that came to them from within. 2 Eventually, the idea that Journal of Jungian Scholarly Studies 2 was to determine my future relations with literature took shape: the idea that literature is to the collective as dreams are to the dreamer. When I read Jung"s The Spirit in Man, Art, and Literature, I found theory to buttress this idea. Jung proposes that imaginative literature is, to use his words, "rooted in the immensity of the unconscious," that the artist is a ""collective man, a vehicle and moulder of the unconscious psychic life of mankind" ("Psychology and Literature," CW 15, pars. 135, 157). He conceives of visionary art as "constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking." Through this compensatory process, art, he claims, "represents a process of self-regulation in the life of nations and epochs" ("On the Relation of Analytical Psychology to Poetry," CW 15, pars. 130, 131). As a theoretician, however, Jung concentrated on historical manifestations of psyche, such as the writings of alchemists, rather than literature, although he did in his writings upon occasion refer to specific authors and specific literary works, most notably Goethe and his Faustus. Most of those studying and writing about Jung"s works have been therapists, and thus even their forays into literature have been oriented toward the work of healing. 3 In addition, Jung privileged myth over imaginative literature. In order to account for powerful patterned forces emerging from unconscious sources, Jung postulated the existence of archetypes and sought to understand them through myths. Jung"s use of myths emphasized the transcendent, universal, and transformative. Given this understanding of myth, literature offers certain advantages in the exploration of psyche. 4 Advantages of literature vis-à-vis myth One advantage actually disenchants some of myths" power to affect how we relate to psyche, thus inhibiting cultural moments from becoming "naturalized." Once a story attains the status of myth, it takes on an aura of authorless divine revelation, of numinosity, suggesting a realm beyond human limitation. This aspect of myth can make our lives feel meaningful and purposeful. The shadow of this power, however, is the universalizing of cultural moments of myth as if they apply to all human experience, thus naturalizing or even divinizing a particular cultural moment, thereby creating a brake on what is considered human and natural. Robert Graves"s The Greek Myths, regardless of whatever details might be controversial, certainly makes clear that stories about mythic characters are multiple and often contradictory. The repressive potential in the use of myths lies in certain moments of mythic stories becoming iconic for later cultures. 5 Imaginative literature, in contrast, comes to us as the creative work of specific individuals who live and write in particular cultures and times, thus allowing for contextual understanding. The two works considered in this study, Franz Kafka"s The Metamorphosis and Tadeusz Borowski"s This Way for the Gas, Ladies and
Radclyffe Hall's fictions portray the traditional content of romantic fiction, the dynamic betwee... more Radclyffe Hall's fictions portray the traditional content of romantic fiction, the dynamic between the hero and the beautiful one, as not sex-linked. Her two main novels, The Unlit Lamp and The Well of Loneliness, in relentless detail, trace the heroic daughters' hopeless attempts to earn the love of their mothers, mothers who demand total service from them.
What does increasing diversity in the Jungian Society for Scholarly Studies (JSSS) mean? I once t... more What does increasing diversity in the Jungian Society for Scholarly Studies (JSSS) mean? I once thought that it meant increasing the number of members who are people of color. But then why is effort required to attract people of color into Jungian organizations?
In The Idea of the Holy Rudolph Otto terms being awed when experiencing a visitation of the divin... more In The Idea of the Holy Rudolph Otto terms being awed when experiencing a visitation of the divine "numinous." Jung and Jungian scholars retain the characteristic of "awesomeness" from Otto's concept of numinosity, 1 but Jung takes Otto's religious use of the term and psychologizes it, seizing upon it as an explanation of an experience of a power greater than one's will within oneself. He says, "Numinosity is wholly outside conscious volition" (On the Nature of Psyche; CW 8, par. 383). For Jung, as Roderick Main points out, experience is the factor that allows a focus on psychology. 2 Because experience is the basis of theorizing, religion is not a necessary or exclusive framework for exploring the psychological realm of numinous experiences. Imaginative literature is rich with accounts of numinous experiences. Besides offering a wealth of specific instances for reflection and analysis, literature also offers readers possible access to numinous energy through the subjective experience of reading imagined narratives. Crucially, literature functions as a conduit between unconscious and conscious understanding and bridges individual and collective consciousness. Jung addresses these functions of literature when he asserts in "Psychology and Literature" that "creative work arises from unconscious depths" (CW 15, par. 159) and claims in "On the Relation of Analytical Psychology to Poetry" that "just as the one-sidedness of the individual's conscious attitude is corrected by reactions from the unconscious, so art represents a process of self-regulation in the life of nations and epochs" (CW 15, par. 151). One might explore numinous experiences rendered in literature through a variety of psychological questions, such as their ascribed or implied source (archetypes being one possible answer) or their relevance to the cultural unconsciousness of the times in which they were written or their relevance to the cultural unconsciousness of the times in which they are being read. I wish to focus on the question that inspired Jung, that is, the role of numinous energy in the process of transformation. He was quite aware that the results of numinous experiences need not always be positive. By the time he dictates Memories, Dreams, Reflections, he treats as commonplace the perception that "the numinosum is dangerous because it lures men to extremes. . ." (154). Whether a "numinosum" leads to integration of unconscious material or not and of what any integration might consist depends on many factors. Literature, because of its multitude of Journal of Jungian Scholarly Studies 2 renderings of numinous experiences, has the capacity to manifest complexity concerning successful and unsuccessful attempts at their integration. Further, literature is an endless source of symbols in narration, and, as Warren Colman points out in his essay on the self, it is the "numinosity of symbols" that allows Jung to claim psychological facticity for psychological experiences (158). In other words, symbols can convey numinous experience, not as scientific evidence, but as phenomenological, subjective reality. Readers of literature have access to this symbolic level of psychological experience. Thus, because of literature's extensive renderings of numinous experiences in symbolic forms, a focus on numinous moments in a text can yield an everunfolding understanding of the complexity of the factors affecting both positive and negative transformation. The understanding can be ever-unfolding because each generation's experience and context allow literature from previous times to be understood anew. Further, each reader's unique experience and perspective mean previously unrecognized aspects of unconscious manifestation latent in a text may be perceived by the reader capable of grasping it. In sum, reading literature for renderings of numinous experiences can inform generations of readers about causes, effects and factors affecting successful, or partial, or failed processes of integration of unconscious material revealed through numinous experience. For the purposes not only of identifying but of interpreting numinous experiences in literature, I wish to emphasize the characteristic of revelation in the sense not of divine apparition, but of possibly transformative understanding. Many such moments of revelation are iconic in western literature: in Oedipus Rex, Oedipus's realization that he is the murderer of his father, husband of his mother; in King Lear, Lear's grasping the tragic consequences of his lack of consciousness as he cradles the dead Cordelia in his arms; in Moby Dick, Ahab's feeling himself crucified among the harpoon ropes atop the white whale; in The Awakening, Edna's tearful understanding that sexual fulfillment apart from love is a "cup of life" (83). To illustrate the wide applicability of reading for psyche through focus on literary renderings of numinosity, I have chosen lesser known tales-a religious, a secular, and a psychological framing of numinous moments. Each literary portrayal, through plot, characterization, and symbol yields specific understanding of the general relationship of numinous experiences to psychological transformation. Flannery O'Connor's short story, "Revelation," announces by its title that the story concerns a numinous encounter. The word "revelation," while it can be used to refer to our more ordinary insights, is traditionally used to refer to communications from God, and I have selected this story because it is a clear instance of a religious perspective on numinous experience. It is characterized by a profound optimism in the face of profound human unconsciousness. 3
Once Joseph Henderson opened up the conceptual territory of a cultural unconscious, psychological... more Once Joseph Henderson opened up the conceptual territory of a cultural unconscious, psychological frameworks such as archetypes, complexes, shadow, and integration became ways of thinking about cultural unconsciousness. Literature, too, addresses this dimension. Because it draws on the unconscious for materials, imaginative literature offers cultures what dreams offer dreamersimages and narratives potent with possible consciousness. Reading these narratives through Jungian frameworks can offer insight about integrating cultural unconscious materials-a valuable contribution Jungian thought could make to the 21 st century. For Americans, one of the classic fictions depicting such a path is James Baldwin's "Sonny's Blues." American cultural shadow, a realm of unconsciousness so threatening and multifarious as to demand our most intense attention, has from the beginning been rife with racism practiced against people of color, beginning with the near extermination of the peoples living on the American continent prior to the European immigration. Samuel Kimbles underscores the unreconstructed form originating in slavery: "Moral conflict in the larger society related to race relations is an open cultural wound, a continuation of dynamics from slavery that gets replayed daily in race relations in current society.. ." (207). A continuous enabler of American racism has been the American posture of innocence. Flying under various flags of righteousness, racism has festered and thrived in American culture's unconscious psyche while it has been and continues to be acted out in myriad forms of injustice in society. The African-American writer James Baldwin was a tireless seer who tried again and again to remove the blinders from American eyes. In essays such as Notes of a Native Son and The Fire Next Time he unflinchingly depicts the reciprocal hatred incited by racism. He details the murderous rage that not being seen as a real individual human being incites, writes of a "cosmic vengeance" (105) brewing. How amazing, moving, it is then, when he suggests at the end of The Fire Next Time that consciousness might save Americans, black and white (105). Baldwin makes his own contribution to this redemptive aspiration in "Sonny's Blues," a portrait of the psychologically transformative power of an artist dealing
... She says of her grandmother's dream for her: Some people could look at a mud-puddle and ... more ... She says of her grandmother's dream for her: Some people could look at a mud-puddle and see an ocean with ships. But Nanny had faken the biggest thing God ever made, the horizon . . . ... Social values specifically deteriorate her marriage with Joe. ...
This journal and its contents may be used for research, teaching and private study purposes. Any ... more This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, redistribution , reselling , loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden.
Journal of Jungian scholarly studies, Jun 11, 2019
Given Jung's understanding of emergence as unconscious materials unattended emerging into lived l... more Given Jung's understanding of emergence as unconscious materials unattended emerging into lived life, the election of Donald Trump to the presidency of the United States calls for analysis of unconscious collective attitudes. Trump's enthusiastic supporters embrace his narcissism, including his claims to almighty power, obedience, and adoration, claims characteristic of the God image of the Judeo-Christian Father almighty. This essay proposes that Americans socialized to worship that image of God have not been aware that they are divinizing narcissistic traits. Charles Brockden Brown's novel Wieland or the Transformation, An American Tale (1798) portrays such a God and a phantom narrative unveiling murderousness in the narcissistic divine Father-son relations. Brown concludes with a call for the development of "juster notions" of divinity. Recognizing the latent murderousness in the narcissistic image of God the Father almighty potentially leads to recalling that projection and collectively accepting responsibility for inner murderousness.
In its founding moment, America failed the dream of life, liberty, and equal justice for all. Wha... more In its founding moment, America failed the dream of life, liberty, and equal justice for all. What Murray Stein calls the European "naked power shadow" generating the acquisition of the Americas (262) manifested in our white forefathers" choice to maintain slavery in order to graft the colonies into the United States. The history of black people in America both before and since emancipation bears witness to the distance between the American dream and the reality of their lives. 1 Toni Morrison"s Pulitzer-prize winning novel, Beloved, calls the history of slavery back as a ghost Americans have buried in darkness. Part of the darkness, it suggests, is the limits of the American dream as first articulated in the Declaration of Independence: life, liberty, and the pursuit of happiness. That articulation fails to include the ideal that human love be extended to all human beings, love in the sense of affirming and assisting the existence of the other for his or her own sake and for the sake of a just community. I do not know a western name for this kind of love. It is not the intimate love we have for those we personally know. We cannot call it civic love because it is not limited to citizens. Probably the closest word we have is agape, but agape has come to mean superabundant, even divine love. The kind of love I am trying to talk about does not depend upon any particular understanding of divinity, but rather upon a particular understanding of humanity. The closest word I know is an African word, "ubuntu," which, according to the African Concise Oxford Dictionary, means: "a spirit of fellowship, humanity, and compassion. . ." (qtd. in Berg 244). What the imagined, articulated American dream lacked was such a spirit, and without it, Americans corrupted the pursuit of the American dream by institutionalizing slavery in the Constitution. The love I"m talking about-let me call it American-dream love-cannot coexist with slavery. Slavery is the antithesis of such love. As Jung remarked, "where force rules there is no love. . ." (CW 17, 309). As the title indicates, Morrison"s novel essentially explores questions of love. One of the conundrums the novel presents is Morrison"s choice of a largely forgotten historical incident-the murder by Margaret Garner of her children to avoid their return to slavery-as the heart of her exploration of love. 2 The story of the main character, Sethe, is based on Margaret Garner"s. As an escaped slave, Sethe murders one of her children and attempts to murder the other three when they Journal of Jungian Scholarly Studies 2 are threatened with capture. Morrison"s creation of Sethe"s infanticide as the pivotal incident through which to imagine the subjective lives of slaves before, during, and after the Civil War suggests ghosts haunting not only the dominant American cultural unconscious, but also the cultural unconscious of the African-American community. The murdered infant haunts her mother and her family as a baby until she suddenly appears as a young woman who says that her name is Beloved. She is a psychic phenomenon in fictional flesh. Jung, when commenting on Faust, points out that Goethe, to judge from the dedication, ""Once more you hover near me, forms and faces,"" is claiming that "this is what actually happened," giving witness to "the objectivity of psychic experience" (CW 17, 212). The ghost, Beloved, is the psychic experience of Toni Morrison written so as possibly to become the psychic experience of her readers. Through Beloved, Morrison is raising from the cultural unconscious of America and from that of African-Americans the victimized energy born of the institution of slavery. Her novel is no mere historical recreation, but is what Clarissa Pinkola Estés calls a sacred story, that is, a facing of evil for purposes of healing (12). Not a product of memory, Beloved is a subjective creation that "emerges. .. to challenge a continuous process of forgetting, refusal and evasion" (Guth 326). Beloved is a ghost promising transformation. Jung says of spirits: "Spirits are complexes of the collective unconscious which. .. seek to replace an inadequate attitude of a whole people by a new one" (CW 8, 597). Beloved"s characterization and her effects upon the other characters in the novel illuminate the unconscious legacy of slavery in ways that can engender new consciousness about love in both the dominant and the African-American cultures. Many a critic has read Beloved as if it were an actual historical account of slave subjectivity. 3 Certainly Morrison draws upon actual history, and not only in her adapting of the Margaret Garner story. Carl D. Malmgren points out that Morrison "makes reference to the persecution of the Cherokee Indians. .. , to the history of Cincinnati, to the activities of the Ku Klux Klan in the 1870"s, to. .. the Fugitive Bill, the Settlement Fee, manumission, Dred Scott, Sojourner Truth, the underground railway, [and] the Colored Ladies of Delaware, Ohio" (192). Morrison even makes use of iconography such as the famous photograph of the slave known as Gordon showing his back as a welter of scars (Keiser 1651-52), an image she transfers to the back of Sethe. But it is essential to recognize that Beloved is not history. Beloved is an imagination of the subjectivity of slaves passing from slavery to freedom. The fact that Morrison"s transmission of unconscious material occurs a century later augurs meaning for African-Americans and all Americans now. Jung perceived the connection of art, focusing on literary art, and the collective unconscious in his essay, "On the Relation of Analytical Psychology to Poetry"
Journal of Jungian scholarly studies, Jun 12, 2018
This transdisciplinary study argues that the fury of President Trump's base can be understood as ... more This transdisciplinary study argues that the fury of President Trump's base can be understood as a victim complex, one caused by the erosion of the dominance of white males that existed at the founding of America. The preamble of the Declaration of Independence became an iconic articulation of the American dream, unintentionally establishing a contradiction between the ideas that all people are created equal and that individuals have an unlimited right to pursue happiness. Analysis of Ahab of Herman Melville's Moby-Dick reveals connections between Ahab's victim complex and the behavior and attitudes of Trump's base. Analysis of Ishmael's survival suggests ways the American dream as articulated in the Declaration of Independence needs to be dreamed forward. His survival through interdependence and an embrace of diversity suggests a way to revision the American dream so as to incorporate psychological determinants, including the limitations of the ego, in the understanding of freedom and happiness. Revisioning the individual pursuit of happiness as limited by the common good furthers the dream of equality under the law and could help free white supremacists from their entrapment in a victim complex convincing them of their entitlement to dominate others.
In The Spirit in Man, Art, and Literature, Jung made a startling claim for "visionary" imaginativ... more In The Spirit in Man, Art, and Literature, Jung made a startling claim for "visionary" imaginative literature. Ascribing the source of art to the "collective unconscious" ("The Relation of Analytical Psychology to Poetry" par. 125), he asserts that visionary literature functions for the collective as dreams do for individuals; it presents needed compensatory vision to collective consciousness ("Psychology and Literature" pars. 161-62). In other words, he claims that visionary imaginative literature has the power to help the collective psyche selfregulate. Reflecting on that claim and on human history, I cannot help but question literature's efficacy as a compensatory force. But perhaps the trouble, so to speak, lies not in the literature, but in the readers. If we read with rigid ego boundaries, we are performing what I call ego readings, thus cutting ourselves off from unconscious contents in imaginative literature. I wish to explore causes and kinds of ego readings and to suggest some ways to slip free of them so that we may read for psyche. Jung advises us that to benefit from the vision made accessible to collective consciousness in art we must "let a work of art act upon us as it acted upon the artist," no doubt good advice ("Psychology and Literature" par. 161). Apparently Freud and Jung were able to do so. They both found fundamental inspiration and insight for their psychological theories in their readings of imaginative literature. Freud famously brought Sophocles' portrayal of a son's unconscious weddedness to his mother to collective consciousness. Jung in Memories, Dreams, Reflections credits Goethe's Faust with his insight into the existence of shadow (235). 1 Fortunately, one doesn't have to be a Freud or a Jung to receive some of the psychological enlightenment literature has to offer. I myself came conceptually upon the existence of the realm of psyche beyond ego in my reading of imaginative literature long before I had read Jung's descriptions of the unconscious. I learned of the confines of ego through a rather mystical experience reading Mark Twain's "The Mysterious Stranger," an ego-disorienting story that for an all-too-brief hour freed me utterly from the ego constraints of fear, from certainty of my world view and the assumptions upon which it was based, and from habitual unconsciousness of my mortality. It was an amazing experience that made the multiple dimensions of psyche real beyond dispute for me.
Written nearly 2,500 years ago, Sophocles's Oedipus plays continue to offer riddles for understan... more Written nearly 2,500 years ago, Sophocles's Oedipus plays continue to offer riddles for understanding psyche. The plots of the plays are well known. Oedipus Tyrannus1 presents a powerful ruler faced with grappling with the ego-shocking discoveries that he unawares killed his father, married his mother, fathered children by her, and thus became a pollution to his city. In his final dramatic creation, Oedipus at Colonus, Sophocles renders his vision of how Oedipus has psychologically dealt with these discoveries and how his efforts are viewed by the gods. In this play, Oedipus has abjured responsibility for his parricide and incest and subsequently retaliates against his sons who did not help him when he was ostracized by cursing them with fratricide. He then exercises a hero's power to bless and is taken up with the goddesses of vengeance, long known as the Furies. This divine rewarding of Oedipus's repetition of his father's filicide illustrates the acceptance in the dominant Greek culture of the right of retaliation, the talio. Mary Whitlock Blundell explains that the Greek "twin principles 'Help Friends and Harm Enemies' are fundamental to the structure of Oedipus at Colonus" (62). She points out that Oedipus justifies both his killing of Laius and his cursing his sons with death in terms of the concept of "the right of retaliation within the family" (64). The value of retaliation was not, however, without its counter in Greek culture.2 Plato's early dialogues Crito and Protagorus contain the idea of not retaliating as virtuous. As in other realms of ideological conflict raised by the skepticism of the Sophists, Sophocles's plot in Oedipus at Colonus affirms traditional, conservative views. In Oedipus at Colonus he uses the Greek divinization of vengeance through the goddesses, the Furies, to divinize the avenging human, Oedipus. And therein lies the riddle of the Oedipus plays for readers who live in an era when unconscious psyche is grasped as real and when the challenge of integrating unconscious materials is understood as a human task of development, both personal and collective. Since knowing what has previously been unconscious is not the same as integrating that material, Oedipus is tasked with dealing responsibly with his self-discoveries, and Oedipus at Colonus consists of Sophocles's vision of what Oedipus psychologically has come to. Sophocles's divinizing vision of Oedipus has Journal of Jungian Scholarly Studies 2 primarily been read as a resolution of Oedipus's previously troubled relations with the gods.3 In contrast, I read this divinization in terms of what it suggests about psychic integration of material horrendous to the ego, with a particular focus on the meaning of responsibility for guilt acquired unconsciously. This exploration leads to the argument that Sophocles divinized a cultural complex, a divinization that still imbues value systems today, including certain interpretations of the concept of archetype. The version of archetype I wish to challenge is given classical definition by Edward Edinger in his series of lectures "A Psychological Approach to Greek Mythology." Edinger says that myths are "the self-revelations of the transpersonal or archetypal psyche" (Lecture 1A). In response, I wish to insist that the myths differ among themselves, offering contradictory "self-revelations." Edinger deals with their differences by claiming that "only the archetypally relevant survives" (Lecture 1A). This criterion privileges dominant-culture selections among-and interpretations of-myths as timeless, a familiar Jungian bias that David Tacey critiques in Remaking Men. Tacey argues that "because of the illusory 'stability' and purported 'timelessness' of the archetypes, Jung has proved attractive to the conservative opponents of change, and the revolutionary possibilities of Jungian theory have been denied" (3). The revolutionary possibilities of Jungian theory, I submit, are, as Susan Rowland has frequently articulated,4 contained primarily in the creative powers of the unconscious psyche. In Jung's words, "the unconscious. .. is the very source of the creative impulse" (CW 8, par. 339). My readings depend upon the premise that imaginative literature is an expression of those creative powers, an expression that is not limited by the intentions of the artist, the cultural context of the writing of the work, or the perspectives of any particular culture and era of those reading it. That is why works such as Sophocles's Oedipus plays have the power to continue to unfold understanding of psyche. As psyche takes shape in differing cultures, eras, and individual readers, the latent meanings of imaginative works can continue to yield new understanding. Jung postulates the role of the unconscious in the creation of what he terms "visionary literature" (CW 15, par. 139). He speaks of art as a "creative autonomous complex" whose expression is an "image. .. from the deepest unconsciousness" serving in a "process of self-regulation in the life of epochs and nations" (CW 15, par. 122 and 130-31). Consequently, art makes possible realization of psychic realities of which audiences have been unconscious. Jung claims that through these images art presents "countless typical experiences of our ancestors" (CW 15, par. 127). He writes: "In each of these images there is a little piece of human psychology and human fate, a remnant of the joys and sorrows that have been repeated countless times in our ancestral history, and on the average follow ever the same course" (CW 15, par. 127). Jung's emphasis on repetition and
Introduction: Literature as revelatory of psyche On the edge-the theme of crisis. 1 The survival ... more Introduction: Literature as revelatory of psyche On the edge-the theme of crisis. 1 The survival of our species is in doubt. As Jung said in response to the atomic bomb, "It is now a question of existence or nonexistence. . ." ("Epilogue," Essays on Contemporary Events 90). In addition to the possibility of nuclear holocaust, we face the human threats to earth"s life-support systems. Distinguished Jungian thinkers have offered hopeful responses to these crises. At the 2010 joint IAJS and JSSS Conference, for example, Roger Brooks detailed the healing potential of communal grief, and Jerome Bernstein articulated his vision of the evolution of psyche as it compensates the power-engorged Western ego through the development of "borderland personalities." We know Jung"s prescription. After acknowledging that "the principal and indeed the only thing wrong with the world is man" ("After the Catastrophe," Essays 72), he placed his hope in the development of consciousness in individuals, in particular development of self-consciousness about one"s own shadow. He writes: "But in reality only a change in the attitude of the individual can bring about a renewal in the spirit of the nations.. .. We must begin by breaking [the power principle] in ourselves" ("Epilogue," Essays 75). Daunting as this hope is, I am presenting even bleaker visions of human survival through Franz Kafka"s Metamorphosis and Tadeusz Borowski"s This Way for the Gas, Ladies and Gentlemen. Imaginative literature as a field is seemingly far removed from issues of species survival. As a literary critic, my path to formulating this topic has been a long one. When I first began analysis, I discovered that the methods I had learned for reading literature worked for interacting with dreams-that is, a symbolic perspective that ponders the exact sense representations of the images and words, their narrative sequences and juxtapositions, textures and moods, allusiveness. This discovery led me back to literature, but this time literature understood as itself a revelation of what had been unconscious, either to me personally or perhaps to the collective. This approach was confirmed by authors who claimed that they served as channels for materials that came to them from within. 2 Eventually, the idea that Journal of Jungian Scholarly Studies 2 was to determine my future relations with literature took shape: the idea that literature is to the collective as dreams are to the dreamer. When I read Jung"s The Spirit in Man, Art, and Literature, I found theory to buttress this idea. Jung proposes that imaginative literature is, to use his words, "rooted in the immensity of the unconscious," that the artist is a ""collective man, a vehicle and moulder of the unconscious psychic life of mankind" ("Psychology and Literature," CW 15, pars. 135, 157). He conceives of visionary art as "constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking." Through this compensatory process, art, he claims, "represents a process of self-regulation in the life of nations and epochs" ("On the Relation of Analytical Psychology to Poetry," CW 15, pars. 130, 131). As a theoretician, however, Jung concentrated on historical manifestations of psyche, such as the writings of alchemists, rather than literature, although he did in his writings upon occasion refer to specific authors and specific literary works, most notably Goethe and his Faustus. Most of those studying and writing about Jung"s works have been therapists, and thus even their forays into literature have been oriented toward the work of healing. 3 In addition, Jung privileged myth over imaginative literature. In order to account for powerful patterned forces emerging from unconscious sources, Jung postulated the existence of archetypes and sought to understand them through myths. Jung"s use of myths emphasized the transcendent, universal, and transformative. Given this understanding of myth, literature offers certain advantages in the exploration of psyche. 4 Advantages of literature vis-à-vis myth One advantage actually disenchants some of myths" power to affect how we relate to psyche, thus inhibiting cultural moments from becoming "naturalized." Once a story attains the status of myth, it takes on an aura of authorless divine revelation, of numinosity, suggesting a realm beyond human limitation. This aspect of myth can make our lives feel meaningful and purposeful. The shadow of this power, however, is the universalizing of cultural moments of myth as if they apply to all human experience, thus naturalizing or even divinizing a particular cultural moment, thereby creating a brake on what is considered human and natural. Robert Graves"s The Greek Myths, regardless of whatever details might be controversial, certainly makes clear that stories about mythic characters are multiple and often contradictory. The repressive potential in the use of myths lies in certain moments of mythic stories becoming iconic for later cultures. 5 Imaginative literature, in contrast, comes to us as the creative work of specific individuals who live and write in particular cultures and times, thus allowing for contextual understanding. The two works considered in this study, Franz Kafka"s The Metamorphosis and Tadeusz Borowski"s This Way for the Gas, Ladies and
Radclyffe Hall's fictions portray the traditional content of romantic fiction, the dynamic betwee... more Radclyffe Hall's fictions portray the traditional content of romantic fiction, the dynamic between the hero and the beautiful one, as not sex-linked. Her two main novels, The Unlit Lamp and The Well of Loneliness, in relentless detail, trace the heroic daughters' hopeless attempts to earn the love of their mothers, mothers who demand total service from them.
What does increasing diversity in the Jungian Society for Scholarly Studies (JSSS) mean? I once t... more What does increasing diversity in the Jungian Society for Scholarly Studies (JSSS) mean? I once thought that it meant increasing the number of members who are people of color. But then why is effort required to attract people of color into Jungian organizations?
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