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In the gentle embrace of nature, we often find moments that elude our hurried gaze, secrets that only the patient observer can truly grasp. “The Arboreal Alchemist: Poetry through Nature’s Eyes”” is a poetry collection that invites readers to slow down, to listen closely, and to feel deeply the voices of nature. In these verses, I seek to personify the elements of the natural world, giving voice to the silent wonders that surround us daily. With humility and reverence, I present this collection, a humble offering to the eternal beauty of the Earth. The verses within these pages breathe life into the seemingly mundane. They celebrate the rustle of leaves as they gossip with the wind, the shimmering dance of sunlight on water, and the ancient wisdom of towering oaks. The poems are born from moments when I, like all of us, have failed to truly see the world around me, moments when I yearned to perceive nature as she perceives us. The tone of this collection is one of reverence and humility. Nature, in her infinite wisdom, serves as both the muse and the mentor. The words flow gently, like a babbling brook, as I strive to capture the profound beauty and wisdom that lies within every rock, tree, cloud and gust of wind. It is a humble endeavour to offer gratitude to the silent forces that shape our world. As you immerse yourself in these poems, you will find that they evoke a sense of wonder and introspection. They encourage the reader to reflect on the small miracles that often go unnoticed—the delicate intricacy of a spider’s web, the steadfast endurance of a mountain, or the relentless cycle of seasons. Each poem reminds us that the world is alive with stories waiting to be heard. There are some surprises in the form of humour and nostalgia as well strewn across the collection.
Acknowledged as the "Artist of the Century," Marcel Duchamp (1887–1968) left a legacy that dominates the art world to this day. Inventing the ironically dégagé attitude of "ready-made" art-making, Duchamp heralded the postmodern era and replaced Pablo Picasso as the role model for avant-garde artists. John F. Moffitt challenges commonly accepted interpretations of Duchamp's art and persona by showing that his mature art, after 1910, is largely drawn from the influence of the occult traditions. Moffitt demonstrates that the key to understanding the cryptic meaning of Duchamp's diverse artworks and writings is alchemy, the most pictorial of all the occult philosophies and sciences.
The Tree of Life and Arboreal Aesthetics in Early Modern Literature explores the vital motif of the tree of life and what it meant to early modern writers who drew from its long histories in biblical, classical and folkloric contexts, giving rise to a language of trees, an arboreal aesthetics. An ancient symbol of immortality, the tree of life was appropriated by Christian ideology and iconography to express ideas about Christ; however, the concept also migrated beyond religious doctrine. Ideas circulating around the tree of life enabled writers to imagine and articulate ideas of death and rebirth, loss and regeneration, the condition of the political state and personal states of the soul through arboreal metaphors and imagery. The motif could be used to sacralise landscapes, such as the garden, orchard or country estate, blurring the lines between contemporary green spaces and the spiritual and poetic imaginary. Located within the field of environmental humanities, and intersecting with ecocriticism and critical plant studies, this volume outlines a comprehensive history of the tree of life and offers interdisciplinary readings of focus texts by Shakespeare, George Herbert, Henry Vaughan, Aemilia Lanyer, Andrew Marvell and Ralph Austen. It includes consideration of related ideas and motifs, such as the tree of Jesse and the Green Man, illuminating the rich histories and meanings that emerge when an understanding of the tree of life and arboreal aesthetics are brought to the analysis of early modern literary texts and their representations of green spaces, both physical and metaphysical.
Through the practice of 20 years of Carl Gustav Jung's active imagination, I came to know Zeus. In this book I talk about what Zeus said about Jung's Red Book. He gave me a task. I should feel the images in the Red Book, because for Zeus, Jung used the same technique that I use in my art and therefore, Jung's images should create the active imagination again, because all his art comes from the active imagination. He also compared these images to his 10 attributes. I wrote about the active imaginations I made sensing the images in the Red Book. Elsewhere in this book, you'll find Zeus's attributes in symbols, and you'll get to know him, too, by touching those parts of his symbol. Jung also participates in these dialogues and talks about man's life in our present time. Know now the attributes of Zeus and interact with his symbols contained in this book. Message from Zeus; Confrontation with Images from Jung's Red Book; Jung's drawings from the Red Book and Zeus; Exiting the state of suffering in Tiphareth; 1st confrontation with image no. 36 from Jung's Red Book; 2nd confrontation with image no. 36; 1st confrontation with image no. 45 from Jung's Red Book; 1st confrontation with image no. 53; 1st confrontation with image no. 55; Confrontation with image no. 59; Confrontation with image no. 63; Confrontation with image no. 69; Confrontation with image no. 71; Confrontation with the drawing on page 72 of Jung's Red Book; Confrontation with many images from the Red Book; Confrontation with image no. 89; Characters of the reconciliation of opposites; Zeus and Demeter; Zeus; Impressions of Zeus' 10 fragments in oil; 1 - I am a divine being; 2 - Guidance; 3 - Becoming a cosmic being; 4 - Health; 5 - Acting in other dimensions; 6 - The elements; 7 - Ethical doubts; 8 - Uncomplicated relationships; 9 - Financial support; 10 - Continuous progress; Order of the creams and their colors; Another moment with Zeus' fragments; Demeter; 1st impression of Demeter's cream; 2nd impression of Demeter's cream; 3rd impression of Demeter's cream; 4th impression of Demeter's cream; 5th impression of Demeter's cream; Ascension through the balance of the masculine and feminine; Reconciliation of opposites; The opposites and the spiritual Partzuf; Zeus in cream 10 times in a row; Meditation with Zeus and Demeter in creams; Zeus and Hecate; Zeus and the goddess Durga - Let there be...; Meditating with the system of creating the equivalence of opposites (1, 10, 2, 9, 3, 8, 4, 7, 5, and 6); Uniting Heaven and Earth through Zeus and Demeter; Zeus next to the Goddess Demeter; 1st Series - Kether; 2nd Series - Chokmah; 4th Series - Chesed; 5th Series - Geburah; 6th Series - Tiphareth; 7th Series - Netsach; 8th Series - Hod; 9th Series - Yesod; 10th Series - Malkut; Meditation with Zeus and Demeter; Zeus on the Tree of Life and its attributes; Cream "I am a divine being"; Becoming a cosmic being; Acting in other dimensions; The elements; Uncomplicated relationships; Ethics; Guidance; Health; Financial support; Continuous progress; Zeus and the reconciliation of opposites; The combination of the opposites of the 10 Spheres with their angels; All spheres together in Zeus' order; Visualization of the entire chain of manifestation. The original copyright of the images printed in this book are © 2009 Stiftung der Werke von C.G. Jung, Zurich. First published by W.W. Norton & Co. This book contains images from the Red Book provided by the Jungian Institute of Zurich through PAUL & PETER FRITZ AG, Literary Agency. The original copyright of the images printed in this book are © 2009 Stiftung der Werke von C.G. Jung, Zurich. First published by W.W. Norton & Co.
The literary influence of alchemy and hermeticism in the work of most medieval and early modern authors has been overlooked. Stanton Linden now provides the first comprehensive examination of this influence on English literature from the late Middle Ages through the sixteenth and seventeenth centuries. Drawing extensively on alchemical allusions as well as on the practical and theoretical background of the art and its pictorial tradition, Linden demonstrates the pervasiveness of interest in alchemy during this three-hundred-year period. Most writers—including Langland, Gower, Barclay, Eramus, Sidney, Greene, Lyly, and Shakespeare—were familiar with alchemy, and references to it appear in a wide range of genres. Yet the purposes it served in literature from Chaucer through Jonson were narrowly satirical. In literature of the seventeenth century, especially in the poetry of Donne, Herbert, Vaughan, and Milton, the functions of alchemy changed. Focusing on Bacon, Donne, Herbert, Vaughan, and Milton—in addition to Jonson and Butler—Linden demonstrates the emergence of new attitudes and innovative themes, motifs, images, and ideas. The use of alchemy to suggest spiritual growth and change, purification, regeneration, and millenarian ideas reflected important new emphases in alchemical, medical, and occultist writing. This new tradition did not continue, however, and Butler's return to satire was contextualized in the antagonism of the Royal Society and religious Latitudinarians to philosophical enthusiasm and the occult. Butler, like Shadwell and Swift, expanded the range of satirical victims to include experimental scientists as well as occult charlatans. The literary uses of alchemy thus reveal the changing intellectual milieus of three centuries.
Answer the Unicorn's Call to Wondrously Positive Living This majestic book provides the keys to unlock your personal and spiritual power. Award-winning author Tess Whitehurst presents meditations, rituals, spells, and exercises that help you enter the realm of unicorns and live as they do—uniting fierceness and courage with gentleness and grace. Unicorn Magic uses spiritual insights and techniques to combat the current madness of our culture with the beauty and wonder that is our true legacy and birthright. You'll explore a wide range of topics, including unicorn altars, energy work, dream work, activism, and alchemy. Through this magical guide, you can awaken your intuition and make positive changes in your life and the world.
In Bach's Germany musical counterpoint was an art involving much more than the sophisticated use of advanced compositional techniques. A range of theological, cultural, social and political meanings attached themselves to the use of complex procedures such as canon and double counterpoint. This book explores the significance of Bach's counterpoint in a range of interrelated contexts: its use as a means of reflecting on death; its parallels to alchemy; its vexed status in the galant music culture of the first half of the eighteenth century; its value as a representation of political power; and its central importance in the creation of Bach's image in the nineteenth and twentieth centuries. Touching on a wide array of contemporary literary, philosophical, critical, and musical texts, the book includes new readings of many of Bach's late works in order to re-evaluate the status and meaning of counterpoint in Bach's work and legacy.
Named 'Top 6' South Asia studies publications of 2016 by the British Association for South Asian Studies The Alchemy of Empire unravels the non-European origins of Enlightenment science. Focusing on the abject materials of empire-building, this study traces the genealogies of substances like mud, mortar, ice, and paper, as well as forms of knowledge like inoculation. Showing how East India Company employees deployed the paradigm of alchemy in order to make sense of the new worlds they confronted, Rajani Sudan argues that the Enlightenment was born largely out of Europe’s (and Britain’s) sense of insecurity and inferiority in the early modern world. Plumbing the depths of the imperial archive, Sudan uncovers the history of the British Enlightenment in the literary artifacts of the long eighteenth century, from the correspondence of the East India Company and the papers of the Royal Society to the poetry of Alexander Pope and the novels of Jane Austen.
In 1954, a massive irradiated dinosaur emerged from Tokyo Bay and rained death and destruction on the Japanese capital. Since then Godzilla and other monsters, such as Mothra and Gamera, have gained cult status around the world. This book provides a new interpretation of these monsters, or kaiju-ū, and their respective movies. Analyzing Japanese history, society and film, the authors show the ways in which this monster cinema take on environmental and ecological issues--from nuclear power and industrial pollution to biodiversity and climate change.