From Jung: A Feminist Revision, Blackwell, 2002

Susan Rowland Ph.D., Pacifica Graduate Institute

Introduction: What's the Matter with Jung?
The anima has an erotic, emotional character, the animus a rationalizing one.
Hence most of what men say about feminine eroticism is derived from their
own anima projections and distorted accordingly. On the other hand, the
astonishing assumptions and fantasies that women make about men come
from the activity of the animus, who produces an inexhaustible supply of
illogical arguments and false explanations.1
I teach the work of C.G. Jung to students in the final year of an English Literature
degree and to Masters students of depth psychology in other universities. I like to start
with this quotation and ask them, unprepared, what they make of it. If I read it slowly to
them, usually they laugh. For me it is the laugh that is the germ of an imaginative
engagement with Jung. For not only is the imagination the generative core of his ideas,
comedy is a much overlooked ingredient of them.
Jung's sentences above are intimately related. They connect both by concepts of gender
and by the passions femininity and masculinity arouse as they touch the inner world of
sexuality and desire. In effect, intellectual and emotional content are equally important.
While on the one hand, Jung was an unashamed essentialist on gender, believing that
male and female bodies bestowed unproblematic masculinity and femininity
respectively, here as elsewhere his conservatism was undermined by his radical
treatment of the unconscious. Jung's unconscious is sublime; it is the creative source,
and the ultimate origin of meaning, feeling and value. Fundamentally independent of
the ego, the unconscious takes up opposing and complementary positions to it. The goal
is to woo the ego into a relationship. Numinous and generative, one of the chief means
of the unconscious inviting the ego's desire is through the androgyny of the unknown
psyche.
Not surprisingly, Jung thought in heterosexual configurations. Yet there is no reason in
the Jungian model why the erotic other in the unconscious should not be of the same
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gender. Nevertheless, in prioritizing gender 'otherness', Jung called the feminine

unconscious of a man, the 'anima', and the masculine unconscious of a woman, the
'animus'.
So, returning to the provocative quotation and its release of laughter, perhaps these
rational, balanced, conceptual figures are an insufficient explanation? Indeed, I believe
these three sentences hold the key to Jung's least acknowledged gift to succeeding
generations: his experimental writing about what we can never master rationally, the
unknown drama of the unconscious. For each of the three sentences takes a different
point of view.
The first perspective the quotation offers is a transcendent treatment of knowledge
common to modernity, which begins to unpack the rational concepts of anima and
animus. What is known is here elevated above its context, transcends the means of its
generation. Sentence two dives into the immanent. Here, knowledge is deeply
embedded in its own birthing. Fascinatingly, the subject of sentence two is the actual
impossibility of rational evaluation between the sexes. We are all immersed in the
emotional and bodily processes of our own gender-in-relation-to-the-other. Objectivity
is an impossible dream of an over-rationalized intellect. Yet, of course Jung does not
say 'we' here, but 'men', his own gender, the only one he can truly speak from.
So what happens in the third and final sentence on 'the astonishing assumptions and
fantasies' that women make about men? Here there seems to be a mysterious excess in
the writing. Such an apparent attempt to speak about the perspective of women is
neither rationally transcendent nor plausibly immanent. It begs the question: who is
speaking? When I ask my students who is speaking, and what might be the relationship
between the second and third sentences, someone will say, 'The anima, Jung's anima is
speaking'. In fact, the writing tells us this is so.
We have been informed that it is the unconscious anima who distorts male perceptions
of women. What follows is a highly over determined rant at the irrationality of the
feminine sex when gripped by their unconscious animuses. Is Jung having a joke with
the reader? Or is he providing an example of his argument? Is this slippage from
rational ego talking concepts to unconsciously influenced bitchy voice (anima) an
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unintended demonstration of how the unconscious may disrupt writing? Or is it the

writer deliberately allowing an-other to take over his voice? We do not know. Here, in
that unknowable quality in the writing on gender, its root in the sublime unconscious
are truly present.2

So far, I have suggested three characteristics of Jung's writing on gender. Firstly, lucid
concepts; then the experimental attempt to embody the unknown psyche; finally, a
tendency to lapse into banal stereotypes. The rest of this chapter will explore what is
important and possible for feminist and gender teaching from Jung's many textual
voices, including the anima herself. First, I will say a little more on these three forms of
writing. For it is in gender in which Jung creatively muddles the distinction between
form and matter itself.
Two other concepts associated with Jung's gender are Eros and Logos. These are
principles of conscious functioning with Eros denoting connection, feeling,
relationship, and Logos discrimination and cognition. While admitting that there can be
no absolute gender division here, Jung then proceeds to assign them differently to men
and woman and attach them to anima and animus. With Logos more native to the
consciousness of men and Eros to the ego of women, anima in men teaches them Eros,
while women are doomed by having their rational discrimination of Logos tied to their
unconscious unreliable animus. Jung's liking for neat symmetry at one level results in
an assertion of women's innate illogicality that he never tries to justify. For it follows
that women's cognition and discrimination are forever irrational. Probably Jung's most
controversial lapse into misogyny and the nagging woman is the following:
No matter how friendly or obliging a woman's Eros may be, no logic of earth
can shake her if she is ridden by the animus. Often the man has the feeling and he is not altogether wrong - that only seduction or a beating or rape would
have the necessary power of persuasion.3
Gender is where Jung goes too far! There is something very passionate, quite terrible
and sublime about this quotation. It drags the reader into an arena of white-hot
emotions, as it evokes male sexual violence, or the threat of it, as something to be
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considered in gender conflict. I am going to be very careful now and say that Jung is at
fault for laying himself open to a reading that advocates rape or a beating. However, I
include this quotation in material for my students because, in examining the
unconscious fantasies provoked here, I believe the challenge is in taking personal
feelings and responses beyond fear and violence. Gender's potential creativity is also in
the aggression and mistrust between men and women.
An actual examination of the construction of the comment about seduction or beating or
rape suggests that Jung is describing, not advocating, the violent rousing of men faced
with a stubborn woman. 'A man might feel', is not the same as 'a man should do'. I read
'and he is not altogether wrong' as meaning that he is not 'inaccurate' in thinking only
violence would prevail. So my reading here is that men faced with the rage of a
woman's masculine animus feel, maybe correctly, that only an attack would allow then
to win the argument. That is, men feel this, where feeling for men is, as Jung has been
insisting, an inferior function that their anima needs to nurture in them. A feeling that
can only be lived through violent assault upon the other is a paltry quality.
On the one hand, I am suggesting that Jung provides a powerful insight into sexual
violence here, one is significantly aware of seduction as a tool of power. On the other
hand, this insight risks drowning in the fear and desire this quotation induces. In the
in-definition, unknowability, gaps and siren voices of Jung's writing, the rational
concepts of gender take on the aspect of desire, stirring the blood. Indeed, it is the
combination of conceptual ideas jarring against banal stereotypes that often trace out
the unknown and erotic.
Gender becomes a demand upon the embodied imagination. Such a unique and
experimental angle on gender is at once a treatment and a gaping wound in the writing.
Jung faces two ways: as a powerful resource for feminist ideas, and as sorely in need of
them himself.
Jung, the Unlikely Feminist
a) The Jungian Symbolic Order: the Divine Feminine
While feminist theory is almost as diverse as individual feminist scholars, there is a
general consensus that western modernity has suffered under a patriarchal order of
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society. Patriarchy's institution as rule-of-the-father has a still potent symbolic origin in

monotheism as transcendent of the 'matter' of his creation. The divine source of all
things is a Father God imagined as the giver of form and meaning. 'He' alone produces
the material world and 'man' in his own image.
This myth of the deification of fathering finds more secular expressions in modernity.
In particular, Freudian psychoanalysis takes a new look at origins. Freud's blend of
traditional patriarchy and the Oedipus myth provides another narrative whereby the
father inducts the child into form and reason.4 Coming between the child and 'his'
passionate union with the mother, the boy child fears castration, the loss of his special
aspect, his penis, if he displeases the father. So he allies himself with fatherhood, thus
anatomical and social superiority.
After Freud, it was Jacques Lacan who extended the 'forming' quality of the father into
the generation of culture.5 Lacan argued that the body was being over literalized. True,
the boy child's task was to identify with paternity, thereby suppressing the desire for the
mother, repressing it to make the unconscious. Yet the phallus was to be the defining
artifact, the sign of masculinity. Lacan shifted the simultaneous founding of ego and
unconscious into the realm of words. Here, it was in the early acquisition of language
that the split in the child's psyche occurred.
Once a child perceives that words substitute for absent things, then he or she takes up a
position in society's codes. Lacan named these the Symbolic Order. Like Freud, Lacan
regards the child's new position as gendered, because boys are gifted by a patriarchal
society with a privileged relation to the phallus as indicator of social and sexual power.
Yet neither boys nor girls actually wholly possess the phallus since it becomes the
ultimate sign of potency and completeness; a completely forever lost in that tragic split
from the primal (m)other. The splitting of the subject into ego and unconscious means
that not even males can completely master the phallus for themselves.
Unfortunately, as feminists have long pointed out, the feminine remains disadvantaged.
Lacan unhelpfully suggests that although males cannot simply 'have' the phallus, it is
the proper role of females to 'be' the phallus for them. Moreover, as the ultimate sign of
the potency of power, the phallus is the disseminator of patriarchal values throughout
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society. Lacan's culture is marked by a symbolic of patriarchal domination that

continues the marginalization of the feminine. Psychoanalytic philosopher, Luce
Irigaray, has done important work in critiquing Lacans subordination of the feminine
as the source of phallocratic power.6
While no feminist, in the straightforward sense of wanting to revolutionize the position
of women in society, Jung does transform the ontology of a patriarchal symbolic. We
need to return to his notion of the unconscious as autonomous, creative and in part
unknowable. Such a lively creature in the embryonic being of a child significantly
modifies the Oedipus complex. Of course, Oedipal struggles occur and a child must still
separate from the mother, entailing a certain amount of repressed sexuality. Yet far
more integral to the developing person is the primal mother that is the unconscious
itself.
This Jungian unconscious actively gives birth to the child's conscious ego. It means that
the Jungian symbolic is primarily rooted in the struggles of the unconscious to create
meaning through becoming embodied in an ego in the world. Those meaning-making
principles that dwell in the unconscious, Jung called archetypes. Anima and animus are
examples of their numinous and mysterious creativity. Most importantly, the Jungian
unconscious is as capable of generating powerful feminine images and meaning as it is
of producing masculine signifying. A society may inherit patriarchal motifs, but the
individual possesses archetypal androgyny. Individuation inevitably challenges
patriarchy.
So the Jungian symbolic is not intrinsically patriarchal or masculine biased, and is
indeed designed to resist such distortions. Jungian divine images are as readily
feminine as masculine. One might wonder why Jung's gift to feminist theory is not
better recognized?
b) The Anima as Phallus
Unsurprisingly, the comparison with Lacan goes two ways. While Jung's conceptual
side offers a strong creative psyche capable of imagining other worlds and feminist
paradises, the other two aspects of his gender writing, unknown sublime and banal
slippage, are harder to digest. Here the notion of the Lacanian phallus is helpful in
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importing a feminist perspective to Jung's embedded writing on/as anima.

For the anima proliferates beyond its assigned place as the concept of a male's feminine
unconscious. We have seen how it spills over from object to subject; how it moves from
concept Jung is writing 'about' to voice assuming control of the writing. Additionally,
the anima is Jung's frequent image for his most seminal idea, the generative
unconscious. At times, anima is the unconscious, not just one aspect of it. The banal
inferiority that tends to color this image for Jung, becomes even more problematic
when unconscious slippage in the writing slides from anima to opinions about women.
Too often Jung will comment on women using the lineaments of his own (inferior)
anima. For example, in what Jung admits is an ungrounded linking of Eros and Logos
to the genders, Eros becomes the 'true nature' of women with their Logos a 'regrettable
accident'.7
This anima-inspired feminine is too present in Jungian psychology. As signifier of the
unconscious 'she' is the generative core of signifying, particularly of the gendered
erotic, unconscious, sublime positioning of the 'other'.
Consequently, we have in Jung a framework for understanding the human psyche in
culture that feminism might welcome, for it provides the opportunity and gendered
creative energy to re-make the world. The fact that we need to apply that gendered
creative energy to Jung's own textuality should be regarded as a chance to participate in
the very creativity that these writings inspire, in-spirit in us. Jung's works are an
invitation to co-create meaning by means of an evaluative, gender-aware and nurturing
participation in these tricky sublime writings.
Later in this chapter I am going to explore Jung further in relation to feminist religious
studies and the symbolic order. First of all, I want to look at a few post-Jungian ideas on
anima, gender, feminism, where they indicate the startling potential for an imaginative
rethinking of gender.
Post-Jungians Revising Anima, Gender, Feminism
Many Jungian analysts and scholars have felt impelled to revisit Jung's oppositional
scheme of anima and animus. They pay particular attention to the animus, some seeking
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to heal his animosity by regarding the negative animus as a woman's inner wounding by
patriarchy. Another significant revision is to detach anima and animus from bodily sex
and allow each gender equal access to Erotic anima and Logos.
A notable revisionary theorist is Emma Jung, Jung's wife.8 She urges women to
counteract their inner opponent until the animus becomes a forceful interior strength,
giving a woman her own authority. While not modifying Jung's basic scheme, she
develops a progressive integration of the animus as power, deed, word and meaning. It
is an impressive and imaginative response to patriarchal conditions.
Linda Fierz-David, a colleague of both Emma and C.G. Jung, helpfully points out that
anima and animus cannot be regarded as having fixed gender, since they reside in the
androgynous unconscious.9 Work by another author, Knowing Woman (1978),
represents a striking break with Jung.10 By arguing that a womans soul image is anima
not animus, Irene Claremont de Castillejo challenges his predilection for binaries, the
latter being merely a manifestation of male aggression against women.
A further thinker, Hilde Binswanger, tries to work with anima and animus alongside
biology (1963).11 She has suggested that women have a biological masculinity linked to
Jung's Eros, as well as a psychological masculinity in the unconscious. The goal of
therapy is to unite the two types of feminine masculinity in a strong woman.
More recently Ann Ulanov (1971, 1994),12 Polly Young Eisendrath (1984, 1987)13 and
Claire Douglas (1990),14 have continued the work of redefining anima and animus, as
well as articulating a resistance to Jung's banal lapses. Young-Eisendrath typically uses
stories and myths to re-present a more empowering notion of animus integration.
Douglas, while retaining anima and animus in their traditional positions, emphasizes
the social and cultural factors influencing their reception. Her book, The Woman in the
Mirror (1990), is an invaluable historical analysis of Jungians and gender.
While merely scratching the surface of a rich Jungian literature of gender, we can see
that the legacy of creativity approaching gender has been exceptionally fertile.
Probably the most significant and far-reaching creative developer of Jung's legacy is
James Hillman who produced two key articles in the nineteen seventies radically
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transforming the anima (1973-4).15 Through a critical re-reading of Jung's texts,

Hillman aims to detach the anima from Jung's delight in opposites. The anima is not
limited to men. 'She' should adopt Jung's other name for her as 'soul' and take her
rightful place as a structure of consciousness in relationship to unconsciousness in both
sexes. So the anima now fully inhabits her role as relatedness, as the bond to the
unknown psyche, not to other people.
It follows that Eros be recognized as the separate function of sexuality and not falsely
joined to the anima. Women no longer carry the anima or soul for men. They have their
own anima-souls to cherish. Similarly, both sexes have equal access to animus or spirit.
Hillman then goes further to argue that anima as relatedness to the unconscious is the
true basis of consciousness. Such a move de-thrones the ego, which has been built upon
the culture of the hero myth. 'He' is driven by the desire to conquer and repress the
other. Useful in the child and adolescent phases of life, the hero myth needs to be
discarded by the adult who discovers his/her true being in anima-relatedness.
For Hillman the anima is the archetype of psychology and soul making. She can
manifest as singular or plural. Anima and animus ideally enact an inner marriage,
marking the most fertile aspect of psychic development; they are the psychic lenses by
which the 'other' is known. So if the anima is seen as 'one', that is not to be taken as her
essence. Rather it is that she is regarded through a perspective conditioned to see 'ones'.
Hillman's revisions of anima are exhilarating. They open up possibilities in ways that
are faithful, I would venture, to Jung's sublime intimations of gender as the point where
reason and theory are defeated.
The Goddess and the Feminine Principle
Many Jungian and Jungian feminist works about gender have taken seriously Jung's
opening up of the patriarchal symbolic to the sacred feminine. Some have developed
the term, 'the feminine principle' as a node around which to position positive feminine
meanings. The feminine principle is sometimes elevated to a transcendent metaphysical
structure. It becomes a divine force in an oppositional relation to a masculine principle,
such as in Esther Harding's famous, Woman's Mysteries (1955).16 Alternatively, it may
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be regarded as a more immanent reality, incarnated in psyche and culture.

Closely allied to the feminine principle is the notion of a goddess or goddesses as the
visible or at any rate, tangible, divine symbols of the feminine. A particularly
comprehensive work here is The Myth of the Goddess (1991) by Ann Baring and Jules
Cashford, which traces the evidence of an earth goddess religion from pre-history to its
defeat by patriarchal monotheism.17 The story continues through the goddesss
underground life in Western Culture to the stirrings of her today. The phallocratic order
is too 'single' minded, repressing the feminine as other just as the father god separates
himself from the feminine and body as nature. Arguing that masculine monotheism has
sponsored the rational consciousness of modernity based upon separation and
discrimination, Baring and Cashford note that father god is not the problem per se.
Rather, it is his tendency to overdo the separation, and eliminate his partner and 'other',
goddess-relational consciousness.
Finally, the work of Ginette Paris shows the true imaginative potential of goddess
feminism. For she takes stories of pre-Christian divine women and uses them to prise
open our barely perceived patriarchal framework that attends contemporary thinking
about gender. Showing how these myths can transform our assumptions and
predispositions, her book, Pagan Meditations (1986), perfectly demonstrates the way
notions of the Jungian psyche can revolutionize the symbolic resources of our culture.18
Anima of Theory and Religion
There is a further way to the mysteries of the anima. This is to invoke her occult origins
in Jung's early writing about spiritualism. F.X. Charet first demonstrated the
importance of Jung's doctoral thesis, 'On the Psychology and Pathology of So-Called
Occult Phenomena' (1902),19 by showing that in the portrayal of a female medium
could be discerned the qualities of Jung's later anima (Charet 1993).20 Named Miss
S.W. in the thesis, the young woman was actually Jung's cousin, Helene Preiswerk.
Also suppressed in the thesis was how far the doctoral researcher was active in
initiating the sances.
S.W. produced a number of spirit voices before two prominent personalities dominated
the dramatic occasions: Ulrich, a male gossip and Ivenes, an astonishing lady who had
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lived many lives, sometimes as mother or lover of Jung. Unsurprisingly, Jung's thesis is
fascinated by her. He concentrates on the problem of defining the 'reality' of these
beings and stories. Very unlike his later fidelity to psychic reality as valuable in itself,
he insists that Ivenes and her proliferating 'romances' consist of 'nothing but' the
developing sexuality of the adolescent S.W. Indeed, in support of this conclusion, he
quotes Freud on sexual energy.21
A later Jung entirely reverses this prejudice against 'romances' or the imagination. For it
is Freud who is criticized for stubbornly insisting that psychic creativity is 'nothing but'
sexuality.22 This mature Jung stands with S.W. as supporter of the voices of the
imaginative soul, whether they are called spirits of the dead or archetypal personalities.
Indeed as Charet notes, in turning his attention from mediums to animas, from the
feminine as women practicing the occult, to his feminine within, Jung could be said to
have taken the culturally feminized medium position (by nineteenth century
spiritualism) for masculine subjectivity. I would argue that such a move is part of a
highly gendered struggle for power and knowledge in Jung's period. For late nineteenth
century occult practice in Europe gradually became enfolded by masculine dominated
medical paradigms. Significant phenomena once classed as supernatural are
re-described as pathological. Women's 'otherness' is shifted from the religious to the
asylum; women's role from prophet to patient.
So here a feminist historical perspective would notice the acute marginalization in Jung
as actual (semi)autonomous women are left behind for a male articulated anima.
However with Jung, it is always the case that the founding principle of the creative
unconscious is capable of giving surprises, including productive reversals. The doctoral
thesis contains two anima figures: S.W. herself, much patronized and confined to one
meaning by nothing but, and Ivenes whose powerful personality is the heart of S.W.s
astonishing stories. For the sances are not only the seed of romantic adventures. S.W.
also provides Mystic Science in what seems like an attempt to unite the Book of
Genesis and Darwin, plus a science fiction re-ordering of the relation of the Earth to the
other planets.23
In this doctoral thesis, where the young author squeezes himself into what he clearly
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considers to be correct scientific rationality, unconscious creativity and resonance

belong to S.W. and her Ivenes. Moreover, this is not just a matter of calling S.W. and
Ivenes anima images for Jung. Rather I would say that S.W. is the anima of Jungs
future work; his future exploration of psychic depths, passions and visions of the
cosmos. As well as being banal and sublime, the anima is the unconscious of theory, its
irrational Eros. In fact, if we take psychology-as-theory to be a conceptual ego entity, I
am merely bringing in S.W. to illustrate Hillmans notion of anima as consciousness
related to unconsciousness. The imaginative writing of S.W. in Jungs thesis is Jungian
psychology-as-related-to-unconsciousness.
Arguably, Jung spends his entire career attempting to unravel S.W.s visions. I am not
suggesting that he consciously devoted himself to her material in later life. Rather, S.W.
was the initial weaving of the creative other into his mind; an-other that for him was
forever associated with the feminine.
S.W. as anima, as the unconscious of Jungian theory is its connective, erotic,
unpredictable, living reality in the psyche. Hence the anima, for Jung, mediates the
psychic reality of gender and the psychic presence of religion. To be more precise, the
anima, usually a single figure for Jung, mediates the relation between monotheism and
polytheism in his religious framework. After all, Iveness magic fertility as storyteller
and child bearer has a very ancient lineage indeed.
Restoring the Symbolic Feminine to Modernity
S.W.s fictional uniting of Darwin and Genesis shows a pre-occupation with origin
stories early in Jungs career. Although what I have termed goddess feminism is most
evidently attributable to later Jungians, his far-reaching, almost painful embrace of the
anima shows a depth of involvement with creation myths that do and do not subordinate
the feminine.
In the beginning the earth was feminine and divine. The earth mother goddess is living
sacred matter. She creates humans from her divine body and nurtures us throughout life
in her Eros connectedness and feeling. Giving birth to a divine son, she later unites with
him as lover. To her sexuality and body are sacred. When the son-lover is later
dismembered, she will seek his body out and restore him.
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Such an ur-myth of a mother goddess is believed to have founded many early religions
and to persist in myths of Isis and Osiris, Attis, etc. Crucially, she also finds a home, if
in disguise, in Christianity, in images such as the sacred Garden of Eden, the wicked
serpent who was once a goddess image of wisdom and rebirth, in Mary the Virgin
cradling the dying Jesus just as the goddess once mourned her son-lover. Such
moments allow a glimpse of the goddess, otherwise occluded in a culture dominated by
an-other myth.24
What ended goddess culture was the rise of male gods who were not identified with
earth or nature. Instead, these were sky fathers who wrested the notion of origins from
earth to the heavens. Neither god nor man was to be grounded. The male god created
earth from above and remained transcendent of it. No longer bodying nature as sacred,
the god prided himself on separating from matter as something inferior and feminine.
Where the immanent mother goddess could be approached as animism in the infinite
plurality of meaningful in-spirited nature, transcendent father god is monotheistic, a
sponsor of truth as one-ness, rationality, separation and discrimination.
Of course, as well as being fundamental structures of religion, the two gendered
creation myths are stories about different types of consciousness, as Baring and
Cashford have shown (see earlier). As both Christian religious heritage and the arts
reveal, both types of consciousness are needed for human well-being. Unfortunately, as
our Christian heritage also shows, Western modernity has privileged father-god Logos
consciousness to the near extinction of the Eros qualities of connecting to the sacred
other, as unconsciousness and/or divine nature.
The work of C.G. Jung is a profound, flawed, incomplete attempt to invite the feminine
creation myth into modernity. For example, an attempt to re-balance goddess and god
consciousness is incarnated in his importing Eros and Logos into the functioning
psyche. Moreover he invokes the autonomous creativity of Mother Nature in his
explorations of synchronicity, the way time and space sometimes seem to play in
meaningful coincidences (Jung 1952).25 Indeed where synchronicity becomes defined
as acts of creation in time we have an evocation of the sacred as immanent in living
experience (Jung 1952, para. 965). Most of all, it is the anima who bears traces of
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Jungs intuitive seeking of a feminine soul to heal modernitys deep wounds. The urge
is not negated by Jung's reluctance to renounce a masculine bias.
The anima is the sublime other to the rationalist hegemony that Christian theologians
made when their way of interpreting the Bible, their exegesis, secured a veneration of
reason from Holy Scripture. As Christopher Manes has pointed out, in constructing
divine reason as transcendent of textual matter, scholars cemented the notion of Logos
as transcendent of nature.26 Hence centuries later science took over the Logos position
as rational, transcendent, and part of the apparatus of modernitys disavowal of the
feminine other. Jungs writing tries to do what is impossible and necessary: to bring the
transcendent Logos of science (inherited from patriarchal monotheism) together with
the immanent trampled matter of body and relating which his anima signifies.
What has been repressed in the denial of the goddess in the making of modernity, is the
consciousness of human immanence in nature. Instead of a dialogical psyche between
masculine and feminine, transcendence and rationality with immanence and
embodiment, the severing of ego consciousness from the feminine has dangerously
weakened modernity. So the anima as the unconscious other to rational ego
consciousness, can be seen as the Erotic nature other to psychology as rational theory.
Jungs anima is also the (humans in) nature he cuts from his psychology when he sticks
to rational, abstract concepts. Fortunately, and invaluably, Jungs writing is dialogical
in seeking to entice the goddess back in from the darkness of her exclusion.
Returning to Jungs third display of his anima as his banal inferiority, we should also
regard this flaw as a useful shadow, or bodying to his writing. It certainly adds to the
immanent quality of his writing within what matters to him, as well as its transcendent
conceptual characteristics. Perhaps Jung needed to allow his inferiority to speak in
order to be able to loosen his imagination. His writing shows psychology as
psyche-Logos, discriminating theory with concepts such as anima, and as Eros with a
body, sexuality, feeling, and unconscious irrationality also erupting as voices: an
animistic textuality. Hence the anima mediates between Logos father god driving
towards one-ness, and Eros mother goddess consciousness, between monotheisms
single truth and animisms diversity in the writing.

Jung tries to save modernity by bringing back an earth mother that symbolically
mitigates the pernicious dominance of the sky father in Western culture.27 His problem
is an ingrained conservatism about female and male social roles. The consequence is
his inability to imagine how his revolutionary ideas of culture might be realized in the
lives of actual men and women. Fortunately, in the writing succeeding generations have
a web of life; one capable of connecting goddess and god.
Teaching Jung: Anima, Gender, Feminism
In teaching Jung, sometimes it is not, ostensibly, Jung that is taught. While some
classes may be framed by the lecture title, Introducing Jung or Jung and Gender, I
may want to bring Jung into subjects as diverse as literary theory, gender studies,
environmental theory, film studies or the psychology of religion.
With English literature students, I will use Jung to question the assumed relationship
between literature and theory. Theory is not necessarily transcendent of fiction if
creativity itself is at its heart. In addition, the literary practice of close reading for
multiple meanings is re-visioned as delving into textual animism, an erotic activity of
engaging with the goddesss reality as multiple threads of life. To students of religion, I
might introduce the anima as a guide to writing that is hospitable to the divine as
transcendent, yet also embodies the goddess as immanent.
For those studying culture and gender, Jung demonstrates that the symbolic properties
of feminine and masculine are all together personal, social, collective and spiritual.
Society shapes gender without having a determining influence upon its meaning. The
unknowable unconscious is always an unreadable factor allowing for further creativity.
Jung also shows that the work of feminism is the work of healing modernity: feminine
and masculine signifying must be re-balanced for individual and collective psychic
health.
Finally, what engages students is what grips us all: the anima as divine desire; that is,
our desire for the divine, and the face of divine love turned towards us. The anima,
conceptual, other-to-theory and banal, is supremely in image-inative terms, Jungs
figure for the mysteries we cannot master. She tells us that we must not rely on Jung to
make this image for us, for she is caught in a textual web that includes some of the
.

darkness of human desire. Yet that textual web of immanent and transcendent
properties offers both teachers and students a labyrinth by which to explore gender and
psyche as powerful dramas in our nature.

NOTES
1. C.G. Jung, The Collected Works of C.G. Jung, Volume 17 (Princeton: Princeton
University Press, 1954), para. 338.
2. C.G. Jung, Memories, Dreams, Reflections, recorded and edited by Aniela Jaffe
(London: Collins and Routledge & Kegan Paul, 1963), 210-211.
3. C.G. Jung, Collected Works, 9ii: para. 29.
4. Sigmund Freud, Group Psychology and the Analysis of the Ego, in Julie
Rivkin and Michael Ryan eds., Literary Theory: An Anthology, Second Edition
(Oxford and Malden MA: Blackwell, 2004), 438-40.
5. Jacques Lacan, The Instance of the Letter in the Unconscious, in Literary
Theory: An Anthology, 447-61.
6. Luce Irigaray, The Power of Discourse and the Subordination of the
Feminine, ibid., 795-98.
7. See note 3.
8. Emma Jung, Animus and Anima (Connecticut: Spring Publications, 1957).
9. Linda Fierz-David, Womens Dionysian Initiation: The Villa of Mysteries in
Pompeii (Dallas, Texas: Spring Publications Inc., Jungian Classics Series II,
1988).
10. Irene Claremont de Castillejo, Knowing Woman: A Feminine Psychology
(Boston and London: Shambhala, 1973).
11. Hilde Binswanger, Positive Aspects of the Animus, Spring: A Journal of
Archetype and Culture (1963), pp. 82-101.
12. Ann Ulanov, The Feminine in Jungian Psychology and in Christian Theology
(Evanston USA: Northwestern University Press, 1971).
Ann and Barry Ulanov, Transforming Sexuality: The Archetypal World of
Anima and Animus (Boston and London: Shambhala, 1994).
13. Polly Young-Eisendrath, Hags and Heroes: A Feminist Approach to Jungian
Psychotherapy With Couples (Toronto: Inner City Books, 1984).

14. Claire Douglas, The Woman in the Mirror: Analytical Psychology and the
Feminine (Boston: Sigo Press, 1990).
15. James Hillman, Anima, Spring: A Journal of Archetype and Culture (1973),
97-132, Anima II, Spring: A Journal of Archetype and Culture (1974),
113-146.
16. M. Esther Harding, Womans Mysteries, Ancient and Modern: A Psychological
Interpretation of the Feminine Principle as Portrayed in Myth, Story and
Dreams (New York: C. G. Jung Foundation for Analytical Psychology, 1955).
17. Anne Baring and Jules Cashford, The Myth of the Goddess: Evolution of an
Image (Harmondsworth: Viking, 1991).
18. Ginette Paris, Pagan Meditations: The Worlds of Aphrodite, Artemis and Hestia
(Spring Publications, 1986).
19. C.G. Jung, On the Psychology and Pathology of So-Called Occult
Phenomena, Collected Works, 1: paras. 1-150.
20. F.X. Charet, Spiritualism and the Foundations of C.G. Jungs Psychology (New
York: State University of New York Press, 1993).
21. C.G. Jung, CW1: para. 120.
22. This was first pointed out by Renos Papadopoulos in Jung and the Concept of
the other, in Renos K. Papadopoulos & Graham S. Saayman eds. Jung in
Modern Perspective (Great Britain: Prism, 1991), 54-88, 65.
23. C.G. Jung, CW1: paras. 65-6.
24. See Baring & Cashford for a detailed history of the Goddess in Western culture.
25. C.G. Jung, CW8: paras. 816-997.
26. Christopher Manes, Nature and Silence, in C. Glotfelty and H. Fromm eds. The
Ecocriticism Reader (Georgia: University of Georgia Press, 1996), 15-29.
27. Susan Rowland, Jung as a Writer (London and New York: Routledge, 2005),
chapter 7.

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Charet, F.X. Spiritualism and the Foundations of C.G. Jung's Psychology. New York:
State University of New York Press.
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Feminine. Boston: Sigo Press.
Fierz-David, Linda. 1981. Women's Dionysian Initiation. Dallas: Spring Publications.
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Freud, Sigmumd. 2004. Group Psychology and the Analysis of the Ego, in Julie
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Harding, M. Esther. 1955. Woman's Mysteries, Ancient and Modern. New York: C.G.
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Jung, C. G. 1963/1983. Memories, Dreams, Reflections, London: Fontana.
Jung, Emma. 1957. Anima and Animus. Connecticut: Spring Publications.
Lacan, Jacques. 2004. The Instance of the Letter in the Unconscious, in Literary
Theory: An Anthology, Oxford: Blackwell.
Paris, Ginette. 1986. Pagan Meditations: The Worlds of Aphrodite, Artemis and Hestia.
Woodstock, Connecticut: Spring Publications.
Papadopoulos, Renos K. & Graham S. Saayman eds. 1991. Jung in Modern
Perspective, Great Britain: Prism.
Rowland, Susan. 2005. Jung as a Writer. London and New York: Routledge.
Ulanov, Ann. 1971. The Feminine in Jungian Psychology and in Christian Theology.
Evanston USA: Northwestern University Press.
.

Ulanov, Ann and Barry Ulanov. 1994. Transforming Sexuality: the Archetypal World
of Anima and Animus. Boston and London: Shambhala.
Young-Eisendrath, Polly. 1984. Hags and Heroes: A Feminist Approach to Jungian
Psychotherapy With Couples. Toronto: Inner City Books.
Young-Eisendrath, Polly with Florence Wiedemann. 1987. Female Authority:
Empowering Women Through Psychotherapy. New York: The Guilford Press.

Susan Rowland, University of Greenwich