New in the December 2017 issue of the British Psychological Society‘s The Psychologist are a couple of pieces of interest to AHP readers. First, Jan Noyes describes the life and work of Conwy Lloyd Morgan, an early psychologist who conducted research on animal learning, put forward what is now known as Morgan’s canon, and proposed – alongside Henry Fairfield Osborn and James Mark Baldwin – a theory of evolution now best known as the Baldwin Effect. Morgan, as Noyes notes, was also the first psychologist to become a Fellow of the Royal Society.
The issue also includes a piece from Ella Rhodes reporting on the BPS’s recent seventh annual Stories of Psychology event which explored the history of women in psychology to mark the 30th anniversary of the Psychology of Women Section. As Rhodes notes,
Women make up a majority of members of the British Psychological Society (BPS), women have been instrumental in shaping what psychology is today, and women may be the face of the subject for many decades to come. Yet inequality remains steadfast. The History of Psychology Centre’s seventh annual Stories of Psychology event traced the history of women within psychology and celebrated 30 years of the Psychology of Women Section.
Sophie Bryant, Beatrice Edgell, Alice Woods, Caroline Graveson, Mary Smith, Nina Taylor, May Smith, Helen Verrall, Nellie Carey, Jessie Murray, Julia Turner, Jane Reaney, Laura Brackenbury, Ida Saxby, Susan Isaacs and Victoria Hazlitt – these were the first female members of the BPS. The Society, founded in 1901, was unusual for a scientific society in the early 20th century in that it allowed women to join.
As Sik notes,
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Marston’s private life created scandal (the film begins in 1928 when prohibition was in full swing and, while Cole Porter might have penned Anything Goes in 1934, it was clear that, at the time, very little went – in the American bedroom at least). He had a complex three-way relationship with his wife Elizabeth and research student Olive Byrne, the three of them often sleeping together, which lost him his job as a lecturer and got him kicked off campus. Like Liam Neeson’s Kinsey (2004), here was one psychologist whose theories and sex life became deeply intertwined… quite literally in this case as Marston’s fondness for ropes and sado-masochistic role-play became more and more apparent. It is fascinating how much it dominated – if that’s the mot juste – the early Wonder Woman comic strips.
The film somehow avoids making it seem salacious, however. By concentrating heavily on Elizabeth and Olive, one strident, one shy, and played superbly by Rebecca Hall and Bella Heathcote, the two emerge as characters more interesting and maybe more important than Luke Evans’s Marston. In fact, there is a deliberately feminist tone to the proceedings, a touch ironic given how much Marston made of the differences between men and women. Like Hitchcock (2012), which emphasised how important his wife Alma was to the Master of Suspense’s films, so it is here with Marston’s theories and indeed Wonder Woman herself, at least as much an empowered female icon as a fetishistic male fantasy. Marston put it this way: ‘Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.’