By Gary S. Bobroff
Throwing mild at the mysterious phenomenon of crop circles in the context of contemporary mental fact, Crop Circles, Jung, and the Reemergence of the Archetypal female in an enticing examine the technological know-how, heritage, and symbolic nature of the secret of those every year happening giant-scale artworks. Gary S. Bobroff deals a framework for the reader's personal deeper attention of crop circles via analyzing either the phenomenon itself and the character of the period into which it has arrived, with unique attention of its relevance to Jungian archetypal psychology.
Living within the second of the dying of 1 worldview and the start of one other, our tradition suffers from a hyper-masculine inflation that has us alienated, imagining ourselves to be break away one another and the earth. at the present time we're offered with environmental, social, and religious crises and mysteries that decision us again towards nearer participation with the realm. Crop Circles--formed in residing grain--exemplify the archetypal female nature of this moment's swap: a calling towards awake, felt engagement with a dynamic, dwelling, mysterious global. putting this contemporary "dream" into the context of contemporary truth, Crop Circles, Jung, and the Reemergence of the Archetypal female considers what it potential to stay in an period of wierd encounters with energies higher than ourselves.
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Additional info for Crop Circles, Jung, and the Reemergence of the Archetypal Feminine
Below, April 13, 1898. Print taken from a single, prime focus image enlarged 4x.
4 The central part of the Orion Nebula. Photograph taken with the photographic objective of the great Meudon equatorial, February 22, 1909 Deslandres first attacked the great nebula in Orion, M42. He obtained three plates of the central part, then another very remarkable photograph the following year (Fig. 4) . The invention of the gelatine-silver bromide photographic plate goes back to 1871. But the first pictures in silver of the Orion Nebula had not made their appearance until 1881, under the signature of Jules Janssen, then a little afterwards by Henry Draper.
In 1882, the Henry brothers’ operations consisted of an optical workshop adjacent to their home, employing several people. Then installed at Montrouge, they were essentially devoted to the production of large objectives and mirrors. One owes to the Henry brothers in particular the photographic objectives destined to be used in the international project inaugurated in 1887 known as the Carte du Ciel (11 objectives of 33 cm aperture), the 1 m mirror of the large Meudon reflector and that of the 83 cm of Toulouse brought into service in 1887, the objective of the 76 cm Nice refractor used from the same year onwards, the two 60 cm visual and 22 2 The Optics, the Mounting, the Refractor photographic objectives of the great Paris coudé instrument (1892), and then the great objectives for Meudon and others later.
Crop Circles, Jung, and the Reemergence of the Archetypal Feminine by Gary S. Bobroff