fer from some of Jung’s concepts, as well as integrating feminist
perspectives with archetypal psychology. Although this book is
written for a general audience, the sophisticated Jungian reader
might note that a psychology of women based on feminine arche-
types challenges the general applicability of Jung’s anima-animus
theory (see Chapter 3, “The Virgin Goddesses”). Many Jungian
writers have written about Greek gods and goddesses as archetypal
figures. I am indebted to them for contributing their knowledge and
insights, and cite their work (see Chapter Notes). However, in select-
ing seven Greek goddesses, and categorizing them into three specific
groups according to how they function psychologically, I have cre-
ated a new typology as well as a means of understanding intrapsych-
ic conflicts (the whole book). Within this typology, I have added the
concept of Aphrodite consciousness as a third mode to the focused
consciousness and diffuse awareness that have already been de-
scribed in Jungian theory (see Chapter 11, “The Alchemical God-
dess”).
Two additional new psychological concepts are introduced, but
not elaborated on, since to have developed them further would have
been a diversion from the theme of this book.
First, the “goddesses” provide an explanation for inconsistencies
between women’s behavior and Jung’s theory of psychological types.
According to Jung’s psychological types, a person is supposed to be
either/or: extraverted or introverted in attitude; to use feeling or
thinking as an assessing mode; and perceive through intuition or
sensation (through the five senses). Moreover, one of these four
functions (thinking, feeling, intuition, sensation) is supposed to be
the most consciously developed and relied on; whichever it is, the
other half of the pair is supposed to be the least reliable or least
conscious. Exceptions to Jung’s “either/or, and most developed/least
conscious” model have been described by Jungian psychologists
June Singer and Mary Loomis. I believe that the goddess archetypes
provide an explanation for the exceptions in women.
For example, as a woman “shifts gears” and goes from one facet
of herself to another, she can shift from one goddess pattern to an-
other: in one setting, for example, she is an extraverted, logical
Athena who pays attention to details; in another
Goddesses in Everywoman