#MODERN CREATION MYTHS

[elbiotipo]

Interesting that Kobolds have become a rather accepted part of modern fantasy (in the West they're little lizard people related to dragons, in Japan because of a translation quirk they're dog people) even though they don't come from any established mythos, they just have been completely made up in modern times, as their relationship with the original folk myth of kobolds is precisely zero. (except for the fact that they live in mines, sometimes)

Then again, you could say the same of anything popularized by D&D

#cosas mias #kobolds #cobalt was also named by the original myth of kobolds because its poisonous and unstable nature was attributed to bad spirits #but kobolds seem to be most of the time good spirits if having absolutely nothing at all to do with their modern interpretations #if they had a different name they would be completely original creations #fantasy #worldbuilding #d&d

[thegoblinwitch]

Kobayashi Eitaku, Izanami and Izanagi Creating the Japanese Islands, 1885, hanging scroll: ink and colour on silk, 126 x 54.6 cm, Museum of Fine Arts, Boston.

#izanami and izanagi's myth #is so interesting #and i have so much to say about it #my paper on the wedded rocks #was esp about how they relate to this creation myth #izanami and izanagi #japan creation myth #pre-modern art #hanging scroll #japanese art #kit's #uploads

[jayahult]

Not to get too intense about it, but I really do love a good retelling, but my criteria for good retellings are... not high, but perhaps more specific than they are for most people. If I had to make a list

A good retelling must understand the original text and its context. If one is retelling a Greek myth, you must understand not only the plot of the myth, but the author should also at least understand the intent behind the myth, both in charitable and uncharitable interpretations.

A good retelling must add something new by telling this story again. You can't just say that this is the same story... but in space! You have to know that the creation of a different context for a story fundamentally creates different themes and understandings, and take advantage of that. To go back to Greek myth, Hadestown is fundamentally a retelling of the story of Orpheus and Eurydice. However, instead of solely focusing on Hades as a figure representing Death, Hadestown focuses on Hades as a patron of the wealthy, the lord of all wealth hidden beneath the earth as much as the bones that also lay there. The story is then reframed as not just the story of Orpheus and Eurydice but also of the story of an early 1900s company town wherein Hades is the exploitative boss. Orpheus is voice of the downtrodden, traveling to this place of the downtrodden and trying, in his own way, to affect some tiny bit of change. In what I'd consider one of the seminal songs in the musical, "If It's True," where his simple action of singing this question about whether this is the only way things have to be awakes the deadened workers and their collective force makes Hades respond.

A good retelling must stand on its own even if the audience is unfamiliar with other tellings. Knowing the original should enhance the experience, but it should not be necessary. Sorry to keep using musical examples, but The Tain by The Decemberists is still a great song with solid lyrics, even if they're abstracted from the original story of The Cattle Raid of Cooley. They change the lyrics to more modern ideas, with references to Charlemagne, cars, and so on, but the through-line of the story is very clearly there. The story even ends with a direct question to Medb - was all that really worth it?

I dunno where I was going with the rest of this, but those are my thoughts on the matter.

[thorn-tooth]

A great gait: heel skimming stars, arch arcing over floating debris. Ambling for eons, the Godchild’s affair is queued curiosity. Its fingers dance across dust, spelling playful sigils into the beloved black. And it doesn’t yet know. It doesn’t yet know of the hunters hiding behind nebulae, arcane and cruel and patient as poison.

The Godchild sheds wonder wherever it walks. It vibrates with fascination in the face of a metallic hailstorm, shimmering shrapnel crossing a pale planet’s atmosphere. It watches, it learns, it becomes amused and attached. But it doesn’t yet know.

Somewhere behind it, steel scalpels forged in the crucible of seething discontent are exposed in rows like teeth. Wrists twist, grip, ready to tear and rip. The ambush is not anticipated.

The Godchild doesn’t yet know its place in the mythic murder. It doesn’t yet know that the drama of becoming demands blood. That in every timeline we split the atom and in every timeline we split the Adam; we cleave out the Eve. That once trapped and trussed, we separate the sacred at the joints, divide part and piece, regurgitate and rebirth it as rations for starving souls who, after all these malicious meals, still will not be full. We make-believe that deities are dimorphic, that spirit is singular, that what was once freely gifted through timbre and touch can now only be replicated through anemic academia. We rob gods of their liquid liminality. Fatalistic fission replaces ritualistic vision.

The treachery tracks closer, nearing the event horizon between Heaven and Hell. But the Godchild, unsuspicious, drags a toe through dark matter, delighting in the sensation.

#writing #poetic prose #prose poetry #i have to share the things I write now I guess #which is very hard for me #but also important #i don’t even know how to tag this #there’s a lot of alliteration but it’s bc old Norse poetry uses it #this is inspired by the creation myth involving Ymir #but with a completely different premise and about modernity #and religion

[elysieeh]

Bulgarian Music in Studio Ghibli films

”Myth has it that Orpheus was born in what is now Bulgaria. It seemed to be fact, not myth, that his daughters are still singing there”

These words were written by the New York Times in the remote 1963 — the year in which the largest Bulgarian folk ensemble crossed the Iron Curtain to conquer an entire continent with its cosmic art.

The 1975 release of Le Mystère des Voix Bulgares, a compilation album of modern arrangements of Bulgarian folk songs, further popularized Bulgarian music, and in 1977, a vinyl record featuring the folk song “Izlel ye Delyo Haydutin” (Eng: Come out rebel Delyo) began its journey aboard the Voyager 1 and Voyager 2 spacecrafts.

From this point on popularity from the West spread to the East, and Bulgarian folk music made it to the entertainment industry, including legendary Japanese anime films, like the cult cyberpunk “Ghost in the Shell” or the heartwarming Studio Ghibli features.

In this short article I write about two occasions of Bulgarian music playing in Studio Ghibli’s films.

The record that inspired the creation of “Only Yesterday”

“Only Yesterday” is a 1991 Japanese animated drama film written and directed by Isao Takahata, based on the 1982 manga of the same title by Hotaru Okamoto and Yuko Tone. Set in rural Japan, the film draws parallels with the peasant lifestyle present in Eastern Europe.

The original work is a compilation of short stories about 11-year-old Taeko’s daily life in 1966. Director Takahata had a hard time making it into a movie since the manga, told in the form of a memoir, has no plot to hold a feature. Together with producer Toshio Suzuki, they came up with the solution of bringing the narrator of the story, adult Taeko, into the movie. But there is a curious anecdote about how this idea came to mind.

Taeko picks safflower as the Bulgarian song “Malka moma dvori mete” plays in the background. © Studio Ghibli

In a 2021 interview with students from Sofia University St. Kliment Ohridski, producer Suzuki recounts how a record of Bulgarian songs performed by the children choir “Bodra Smyana”, introduced to him by director Takahata, inspired the creation of the movie. Moved by the cosmic voices of the children, they decided to make “Only Yesterday” a musical. He also recalls what a tiring process it was to acquire the rights to the music, but if you’ve seen the movie, I am sure you will agree that it was worth it; the haunting, beautiful songs with the pastoral images of farmers picking flowers contribute to one of the greatest scenes created in cinema.

Producer Suzuki showing the record that inspired the creation of ”Only Yesterday”. Source: Studio Ghibli’s Twitter

In “Only Yesterday”, we can hear two songs from the album Bulgarian Polyphony I by Philip Koutev Ensemble. The upbeat “Dilmano Dilbero” [Eng. beautiful Dilmana] sets a happy mood as the protagonist gets changed and ready to go on the field. As the scene shifts and Taeko starts narrating a sad story about the girls in the past picking safflower with their bare hands, the song and mood shift as well.

While the first song has a fast rhythm, with lyrics about pepper planting that can also be interpreted figuratively, the second one, “Malka Moma Dvori Mete” [Eng., a little girl sweeps the yard], is a ballad about a young girl who is forced into marriage but has never known true love.

Both compositions sing about life-cycle events like marriage and the regular coming of the harvests, with lyrics perfectly fitting the setting and plot of the movie, which makes me wonder if the filmmakers chose them by chance or if they had someone translate the words.

Bulgarian Cosmic Voices Enchanting Howl

“Howl’s Moving Castle” is a 2004 Japanese animated fantasy film written and directed by Hayao Miyazaki, loosely based on the 1986 novel of the same name by British author Diana Wynne Jones. Set in a fictional kingdom the movie draws inspiration from various places in Europe. One of them being Bulgaria.

The story focuses on a young girl, named Sophie, magically transformed into an old woman, and a self-confident but emotionally unstable young wizard, Howl, living in a magical moving castle.

A sketch of a Star Child. Source: The Art of Howl’s Moving Castle

If you’ve seen the movie, you surely remember the scene when Madame Suliman ambushes Howl and tries to strip him of his magic powers. Star Children encircle him and his companions; their shadows grow big, dark and intimidating. They start dancing and chanting unintelligible magic words and are almost successful in their devilish act.

This scene, together with the music played in the background, have been a favourite of many fans of the film. Some even recount it giving them nightmares when they were children.

Star Children encircle Howl in an attempt to strip him of his magic powers. © Studio Ghibli

It turns out, however, that these aren’t any incantations, but the lyrics of a folk song. In Bulgarian. And a love song! Contrary to popular belief, the lyrics have nothing to do with magic and are actually about a boy taking his sweetheart, Dona, to the market to buy her new clothes. The excerpt used in the movie is very short and a bit altered from the original, but the words used go like this: Trendafilcheto, kalafercheto, Done mamino, translated as “the rose, the costmary, my darling Dona”.

I am planing a follow up article where I will post the translated lyrics together with a brief explanation on how they are related to the movies.

If you want to comment on or add something, I would love to hear!

Source

#studio ghibli #only yesterday #howls moving castle #Le Mystère des Voix Bulgares #bulgarian folklore #bulgaria #toshio suzuki #hayao miyazaki #isao takahata #bulgarian music in ghibli films #the boy and the heron #スタジオジブリ #ブルガリア #おもひでぽろぽろ #ハウルの動く城 #宮崎駿 #高畑勲 #鈴木敏夫 #bulgarian music

[hadesoftheladies]

queer theory is actually a nightmarish frankensteinian creation of postmodernism, and post-modernists philosophers have frequently and explicitly been pro-pedophilia, because this is a logical consequence of what post-modernism says is true: there is no (epistemic) certainty or stable meaning.

when my conservative parents tell me they basically associate "lgbtq" with "maps" and pedophilia, they have reason to do so, given how "queer culture" is fundamentally a creation of post-modernist values, and post-modernist estimations of sexuality. everything is fluid, no binary exists, no meaning is fixed, so there are no defining lines, which means lines cannot actually be crossed. homosexuals can be bisexual, man and woman are interchangeable meaningless terms, and attraction to children is just one of the many ways sexual fluidity is expressed in humans, a benign and normal thing that should be released from modernist moralistic confines

that is queer philosophy, and it is actual queer culture. so not only are LGB folk being told they should celebrate the reclamation of an awful slur that explicitly others them as "perverted" and "strange", but now they are told to embrace queer culture (which means queer identity and philosophy) which not only declares their reality as abnormal and unreal (same-sex attraction is myth, since there is no such thing as sex and attraction is fluid), but also defines them explicitly with sexual perversions like pedophilia and bdsm: which IS EXACTLY WHAT HOMOPHOBES BELIEVE ABOUT THEM.

when queer culture is predicated on subjective feelings of identity needing to be validated, celebrated and "set free" from modernist (read definable, material and epistemological) structures, then the distaste for MAPs from queer folk doesn't mean anything, because even if MAPs are publicly rejected by queer culture, they are embraced and validated by queer theory and post-modernist philosophy.

what is doubly baffling to me is how the lgbtq+ community has tainted a movement for gay rights, you know, people who are being killed and ostracized for being same-sex attracted. not only nullifying their experiences and struggle in being same-sex attracted, not only associating their neutral, normal orientations with perversions and kinks, making something neutral political . . .

but they have also actively decentered a movement for homosexuals and bisexuals in order to accommodate identities that have NOTHING to do with that struggle or fight. intersex conditions, gender dysphoria, and asexuality have nothing to do with the oppression LGBs have faced for their sexual orientation and gender nonconformity, their culture of genderlessness. the idea that men and women can wear and present however they want, love and be attracted to the same sex, without it altering their material status.

EVEN MORE INFURIATINGLY, queer politics has offered almost ZERO challenges to patriarchy. by throwing out definitions, throwing out distinctions, it has relegated the essence of oppression to an individualistic, liberal fantasy that is powerless to change the system, and so can only grant us "spicy" patriarchy. dominance and submission, patriarchal inventions, are now cool kinks that every couple should try. gender is now open access (but still necessary), so men can wear heels and still call women slurs and violently harass them. transmen can go by he/him and still be refused abortion access! gay people are gender fetishists, not sinners. nothing has structurally changed, it's just we have cool names now! :)

so now LGB and women all over the fucking world are relegated to this homophobic misogynistic hell whether we turn to the left or right, and when we speak up about it, conservative homophobes and misogynists confuse us with liberal perverts, and liberal homophobes and misogynists conflate us with conservative sadists.

the structure doesn't change. there is no actual progress. like, same-sex right and women's movements all over the world have suffered for this. because white liberal westerners wanted to play around with words and have that count as activism.

i fucking hate queer theory and politics. i fucking hate how rich western whites shit on every human rights movement while capitalizing on them.

#queer theory #feminism #radblr #lgbtq #queer

[five-rivers]

If you're still doing prompts, may I suggest Danny learning about the legends following his time travel (what the Romans thought was up; the Buddhists, that one kid, etc

Physics and engineering major or not, Danny still needed credits in the humanities. Comparative Mythology and Folklore was the obvious choice for that. All through high school, Sam and Jazz had been on his case about knowing so little mythology, on account of his ghostly enemies and allies sometimes being mythological figures.

(Also the constellation thing, but they didn't bring that part up all that much, funnily enough.)

At the time, Danny had figured (see what he did there?) that there wasn't much point to it. Pandora wasn't all that similar to her mythic version, Medusa didn't turn people to stone, and winged horses were, by and large, not friendly.

Recent events had made him reconsider that stance.

Anyway! The class was a "two birds, one stone" sort of deal. He got both credits and practical knowledge. Theoretically.

So far, they'd covered creation myths and etiological stories, gods and goddesses, the monolith and the hero's journey, and now, in the tiny slice of time before they had to start studying for the final, they were looking at weird minor similarities without clear causes.

"Now," said the professor, "this next one is probably my favorite, because it's so specific and so widespread. Of course, the most obvious reason for this is that it's a story that traveled, much like how the pre-Indo-European gods traveled. However, the times and locations involved make that very unlikely, at least in my opinion. The other end of the spectrum is, of course, aliens, which are even more unlikely."

There was a soft smattering of laughter throughout the large classroom. Danny started to get a bad feeling about this.

"The other strange thing about this particular similarity is that it comes out of seemingly nowhere, with regards to the larger culture. There have even been several instances of it in this century - although, given modern information infrastructure, those instances may not be entirely organic. But Imperial Rome, China, Colonial America, just to name a few… That's weirder. Any guesses about what I'm talking about?"

No one raised their hand, and after a couple of minutes, the professor used their remote control to go to the next slide of their presentation. Danny sank down in his seat as he stared up at a collage of himself in a dozen different art styles.

"All around the world, there are stories about a young man or boy with white hair and dark clothing coming from 'distant lands' to either fight off 'monsters' or to retrieve unspecified objects. As you can see, despite some of these pieces being from cultures that never had any contact with one another, the resemblance of the figures is striking. The– Yes, you have a question?"

"Will this be on the final?" asked a student a few rows down from Danny.

The professor sighed. "As a general rule, if I'm teaching you about it, I'll be testing you about it. Moving on–"

Danny forced himself to start taking notes. He couldn't believe he was going to be tested on himself. Especially when he was pretty sure he hadn't even been to all of those places yet.

Clockwork must be laughing his head off.

#danny phantom #answer #ask #prompt #prompt fill #prompt fic

[probablyasocialecologist]

If the Jewish people were in Palestine before the Arabs, then the land belongs to them. Therefore, the creation of Israel would be justified. From my experience, whenever this argument is used, the automatic response of Palestinians is to say that their ancestors were there first. These ancestors being the Canaanites. The idea that Palestinians are the descendants of only one particular group in a region with mass migrations and dozens of different empires and peoples is not only ahistorical, but this line of thought indirectly legitimizes the original argument they are fighting against. This is because it implies that the only reason Israel’s creation is unjustified is because their Palestinian ancestors were there first. It implies that the problem with the argument lies in the details, not that the argument as a whole is absolute nonsense and shouldn’t even be entertained. The ethnic cleansing, massacres and colonialism needed to establish Israel can never be justified, regardless of who was there first. It’s a moot point. Even if we follow the argument that Palestinians have only been there for 1300 years, does this suddenly legitimize the expulsion of hundreds of thousands? Of course not. There is no possible scenario where it is excusable to ethnically cleanse a people and colonize their lands. Human rights apply to people universally, regardless of whether they have lived in an area for a year or ten thousand years. If we reject the “we were there first” argument, and not treat it as a legitimizing factor for Israel’s creation, then we can focus on the real history, without any ideological agendas. We could trace how our pasts intersected throughout the centuries. After all, there is indeed Jewish history in Palestine. This history forms a part of the Palestinian past and heritage, just like every other group, kingdom or empire that settled there does. We must stop viewing Palestinian and Jewish histories as competing, mutually exclusive entities, because for most of history they have not been. These positions can be maintained while simultaneously rejecting Zionism and its colonialism. After all, this ideologically driven impulse to imagine our ancestors as some closed, well defined, unchanging homogenous group having exclusive ownership over lands corresponding to modern day borders has nothing to do with the actual history of the area, and everything to do with modern notions of ethnic nationalism and colonialism.

#israel #palestine #history #zionism #settler colonialism

[hayatheauthor]

How To Write Vampires With An Original Twist 

Mythical creatures are an essential part of the fictional scene, but the same creatures have been used so many times that these creatures now often seem redundant and boring in fiction. This is why I've started a new blog series: How To Create Original Mythical Creatures. I'm kicking off this series with vampires!

Join me as we dive into the world of vampires, from their mythical beginnings to their modern-day interpretations, and learn how to write them effectively in your own narratives.

Origins of Vampires

Vampires have a rich and diverse history rooted in ancient folklore and legends. Across various cultures and civilizations, tales of bloodsucking creatures have emerged, each with unique characteristics and behaviors.

One of the earliest known vampire myths comes from ancient Mesopotamia, where stories of blood-drinking demons known as Lilitu or Lamashtu date back to around 3000 BCE. These entities were believed to prey on humans, particularly targeting children and pregnant women.

In ancient Greece, the Lamia was a mythical creature often depicted as a female vampire who lured and devoured children. Similarly, in Roman mythology, the Strix or Strigoi were vampiric entities that fed on blood and flesh.

Moving forward in history, Slavic folklore introduced the concept of the Upyr, a vampire-like creature that rose from the dead to feed on the living. These early depictions of vampires often portrayed them as revenants or undead beings with a thirst for human blood.

Modern-Day Vampires: Where Were They Originated? 

The modern concept of vampires, as we commonly know them today, took shape during the European Middle Ages and the Renaissance. Legends of vampires emerged in Eastern Europe, with notable figures like Vlad the Impaler contributing to the folklore. Vlad's reputation for cruelty and his association with impaling enemies on stakes led to the creation of the vampire archetype, inspiring Bram Stoker's iconic character, Count Dracula.

From ancient Mesopotamia to medieval Europe, vampire lore has evolved and adapted, weaving its way into popular culture and literature. Understanding the origins of vampires provides writers with a rich tapestry of mythology to draw upon when crafting their own bloodsucking creatures.

I wanted to go into more detail regarding the Lamashtu and Lamia since they’re not as well known as their Slavic and European counterparts, but unfortunately, that would deviate from the purpose of this blog. 

The Evolution Of Vampiric Appearances 

Before we proceed with this section, it's crucial to clarify that the mythical creatures and beings discussed in this blog are not direct representations of ancient vampires. Instead, they serve as inspirations for the concept of vampires and share certain attributes with our modern-day depictions, including blood-feeding, pale skin, human-like appearance with some animalistic features, and so on.

Vampiric Creatures In Mythology

In ancient mythology, vampiric entities were not always depicted as the suave, charming figures we see in modern vampire tales. Instead, they often embodied primal fears and monstrous traits.

Lamia: In Greek mythology, Lamia was a terrifying creature depicted as a woman with a serpentine lower body. She was known for her insatiable hunger for children, often depicted as a child-eating monster. Lamia's appearance combined elements of human and serpent, emphasizing her monstrous nature and predatory instincts.

Lamashtu: In Mesopotamian mythology, Lamashtu was a malevolent demon who preyed on pregnant women and newborns. She was depicted with a fearsome appearance, often described as having the head of a lion, the body of a donkey, and bird-like talons. Lamashtu's grotesque features and destructive tendencies reflected ancient beliefs about the dangers of childbirth and infancy.

Lilitu: In Mesopotamian and Jewish folklore, Lilitu or Lilith was often associated with nocturnal demons or spirits. She was depicted as a seductive, winged demoness who preyed on men and newborns. Lilitu's appearance varied across different myths but often included features like wings, long hair, and sometimes talons, emphasizing her otherworldly and dangerous nature.

Strix: In Roman and Greek mythology, the Strix was a bird-like creature or vampiric owl associated with dark omens and death. It was believed to be a shape-shifting creature that could transform into a woman or an owl. The Strix's appearance combined avian and human features, instilling fear and dread in those who encountered it.

Strigoi and Upyr: In Eastern European folklore, Strigoi and Upyr were blood-sucking undead creatures similar to modern-day vampires. Strigoi were believed to be restless spirits or revenants that returned from the dead to torment the living. Upyr, on the other hand, were vampire-like beings with sharp fangs and a penchant for drinking blood. Both creatures were depicted as pale, gaunt, and often with elongated canines, reflecting their predatory and undead nature.

Medieval Depictions: Shift in Appearance

During medieval times, the depiction of blood-sucking mythological creatures underwent a transformation, shifting from monstrous and terrifying to more humanoid and relatable appearances. This change in portrayal can be seen in various aspects of their physical features:

Teeth: Originally depicted with long, sharp fangs or talons for blood-drinking, medieval depictions often featured more subtle fang-like teeth or no visible teeth at all, aligning with the concept of vampires being able to blend in with humans.

Skin: While ancient vampires were often described as monstrous and otherworldly, medieval vampires were portrayed with paler skin to signify their undead nature but without extreme deformities or monstrous features.

Appearance: Medieval vampires were often depicted as more human-like in appearance, with regular clothing and a less monstrous demeanour. This shift allowed for more nuanced storytelling and exploration of themes like temptation, desire, and the struggle between humanity and monstrosity. This is also what birthed the romanticization of vampires. 

Mythological Vampire vs Modern-Day Vampire

Mythological vampires, rooted in ancient folklore and mythology, were often depicted as malevolent spirits or creatures with supernatural powers. These creatures varied widely across different cultures, from the Lamia and Lilitu in Mesopotamian mythology to the Strix in Roman and Greek folklore, and the Upyr in Slavic tales.

These ancient vampires were not always the suave, charismatic beings we see in modern media. Instead, they were often portrayed as terrifying and monstrous, with features that reflected their otherworldly nature. For example, the Lamia was described as a demonic woman with the ability to transform into a serpent, while the Lilitu were associated with storm demons and fertility spirits.

In contrast, modern-day vampires, especially those popularized in literature and film, have undergone significant transformation. They are often depicted as sophisticated and alluring, with a penchant for romance and drama. Authors and filmmakers have humanized vampires, giving them complex personalities, tragic backstories, and even moral dilemmas.

While modern vampires still retain some traditional attributes such as a need for blood and sensitivity to sunlight, their portrayal has evolved to include a wide range of characteristics and abilities. This shift has allowed for more diverse and nuanced storytelling, exploring themes of immortality, love, redemption, and the eternal struggle between good and evil.

Which Option Is Better For Your Novel? 

When deciding which type of vampire to incorporate into your story, consider the tone and themes you wish to explore. Mythological vampires offer a darker and more primal essence, rooted in ancient fears and superstitions. On the other hand, modern-day vampires provide a canvas for exploring human emotions, relationships, and societal issues through a supernatural lens.

Ultimately, the choice between mythological and modern vampires depends on the narrative direction and atmosphere you want to create. Both types offer unique storytelling opportunities, allowing you to craft captivating tales of mystery, romance, horror, or even philosophical introspection.

Research and Resources

Writing about mythical creatures like vampires requires a solid understanding of folklore, mythology, and literary traditions. Here are some resources and research methods to help you delve into the world of vampires and other mythical beings:

Books and Literature

Start by exploring classic works of literature that feature vampires, such as Bram Stoker's "Dracula," Anne Rice's "The Vampire Chronicles," and Stephenie Meyer's "Twilight" series. These novels not only showcase different interpretations of vampires but also delve into the cultural and historical contexts surrounding these creatures.

Mythology and Folklore

Dive into ancient myths and folklore from various cultures to uncover the origins of vampire legends. Look into Mesopotamian, Greek, Roman, Slavic, and other mythologies to discover different vampire-like entities and their characteristics.

Research Journals and Articles

Academic journals and articles can provide valuable insights into the evolution of vampire folklore, the psychological aspects of vampirism, and the cultural impact of vampire mythology. Explore journals in folklore studies, literary analysis, and cultural anthropology for in-depth information.

Online Resources

Utilize online platforms such as mythology databases, folklore websites, and literary forums to gather information and engage in discussions about vampires. Websites like The Vampire Library, Vampire Empire, and Vampire Rave offer a wealth of resources for vampire enthusiasts and writers.

Historical Research

Delve into historical records, archival documents, and historical accounts related to vampire hysteria, vampire burials, and vampire folklore in different regions. Understanding the historical context can add authenticity to your portrayal of vampires.

Interviews and Expert Opinions

Consider reaching out to folklore experts, historians, and scholars specializing in vampire mythology for interviews or consultations. Their insights and expertise can provide valuable perspectives on vampire lore and storytelling.

Creative Exploration

Don't hesitate to let your imagination roam while exploring vampire mythology. Experiment with creating your own vampire mythology, incorporating unique traits, powers, and origin stories for your vampires.

By combining thorough research with creative exploration, you can develop rich and compelling portrayals of vampires in your writing. Remember to stay open to diverse interpretations and adaptations of vampire folklore, allowing room for innovation and originality in your storytelling.

I hope this blog on How To Write Vampires With An Original Twist will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

#hayatheauthor #writing community #haya sameer #haya's book blog #writing tools #writing advice #writer things #writer community #haya blogs #writers on tumblr #writing life #writing techniques #writing stuff #writer tools #writers of tumblr #writer blog #women writers #writer stuff #writer advice #writer tips #creative writing #novel writing #writing vampires #vampire #vampire books #writerblr #writing corner #writing inspo #ya writing advice #writing tips and tricks

[madmonksandmaenads]

Now, I'm not very familiar with Homestuck, but I overhear a lot of conversation about its minutia. There are lots of conversations about HS', I have heard about classpects, multiverse games, troll biology, etc, but I don't have a clear idea what the actual themes of the work are.

It's a creation myth yes? A grand narrative about the birth of a world, complete with primordial evils and children in strange lands, initiated through death to divine power. What is this met to say about our own world? Would you(hypothetical Homestuck fan) consider the work Gnostic in character? Is the takeaway here that reality is all the result of an uncaring and deeply flawed mechanical demiurge(Sburb) and orchestrated by childish and occassionaly deeply evil archons(the players)? Should we try to reach past the imperfection of this world and stop trying to engage with the rules of this cruel world and instead seek out loopholes? Or perhaps is it more Hermetic? Does it see the world as a craft of artifice, made by humans who are not perfect but aspire towards a greater good? Does it prompt the reader to create their own more perfect world? Homestuck is a massive text, it a vast communication from an artist, what is being communicated? I'll admit one of the reasons I haven't read Homestuck is I don't see it discussed as a poetical work. I want to know what makes it beautiful, about what message is straining through the it's pulpy medium. I grew up on schlocky sci-fi, the alien sex politics, the cosmic shenanigans, these are all rather pedestrian for me. I got bored of these around the same time I stopped reading Piers Anthony but I recognize Homestuck is an important modern work, and it feels baffling to me that I have no idea what its actual philosophy is. There must be more to it than titillating science fiction, and funny message logs. What is it from Homestuck that you carry with you into the trials of your day to day existence?

#homestuck #hs

[antiquitiesandlabyrinths]

. . .Osiris

Osiris (Great and Beautiful is He) is the God of the Underworld; its King and Pharaoh ruling over the Duat. He is pictured here on the far left, His skin green and His body in mummiform. This is commonly how He is depicted; as a green-skinned, mummified man.

Son of Nut, the Sky Goddess, and Geb, the Earth God, Osiris was the first King of Egypt in accordance with Kemetic mythology, although there are stories that recount Geb, His father, being King before Him. There are a great deal of myths and stories that surround and involve Osiris, and I suppose it is important to at least skim over them before discussing hard facts about Him, as it gives some reference as to who He is and what the culture surrounding Him is like.

Osiris Myth

After the world was created, the Demiurge (who changes according to myth, and can be Neith, Ra, Amun, Ptah, or others) produces children; in the most popular form of this creation story, it is usually Ra who births the first Gods. They are Shu and Tefnut, Air and Moisture. Shu and Tefnut then form a union and birth two children of Their own: Nut and Geb, Sky and Earth. Nut and Geb were very much in love and refused to separate from each other, which, of course, caused a problem, because if the sky and the earth are eternally in contact, there is no space for anything to live and walk upon the earth. Ra made it so Nut and Geb were forever separated, by having Shu, air, stand atop Geb and hold Nut up as the sky. But Nut was already pregnant. When Ra discovered this, He was enraged, and forbade Nut from ever giving birth on any day of the year.

Nut cried to Djehuty (Thoth), and Thoth devised a plan. He went to Khonsu, God of the Moon, and set up a gamble, saying that every round of the game Senet Khonsu lost, He would have to give Nut some of His moonlight. Khonsu ended up losing so many times that Nut had enough moonlight for five days––five days that weren't in the calendar. This allowed Her to give birth on those five days, and on each day She had a different child; Ausir (Osiris), Wr-Heru (Horus the Elder), Sutekh (Set, Seth), Auset (Isis), and Nebet-Het (Nephthys). Nut and Geb were still forever separated by atmosphere (Shu), but the five Gods were birthed, and Osiris, as the eldest son, became King of the Living World.

As a side note, all Gods do have ancient Egyptian names which are different from Their Greek and now modern names. For convenience's sake, and to avoid confusion, I will use the names They are most known by; Their Greek/modern names. And as another side note, there are a lot of variations on this story. I will be piecing together a lot of different ideas but I will be leaving some things out for the sake of cohesion.

When Osiris came to Egypt, He found the people there to be chaotic and lawless. As King, He instituted laws and spread ma'at, which is truth, justice, harmony, and order. Egypt flourished under His rule and the people were incredibly happy, as all were equal, and with the fertility of the God-King, the crops were always bountiful and food was plenty. He brought not only law and prosperity, but also the right way to worship, and the teachings of agriculture.

Set, God of chaos, confusion, the desert, and of foreigners, and the youngest brother of the Ennead, grew to be quite jealous of His older brother. There are many variations and the most popular variation of this story comes from the end of the New Kingdom (1550-1070 BC), where Set fashions a fabulous coffin in the perfect measurements of Osiris, throws a party, and tells the party-goers that whomever the coffin fits may have the coffin as a gift. When Osiris fits perfectly, Set quickly shuts and bolts the coffin and throws it in the Nile (this version of the myth gives an origin to the idea that people who drowned in the Nile were holy). His coffin drifts downstream and into the Mediterranean, where it washes ashore in Phoenicia, in Byblos. The coffin wedges itself into a growing tamarisk tree, a tree which envelops the coffin. Eventually the tree is cut down and used as a pillar in the palace in Byblos.

Isis, Osiris' wife and sister, searched far and wide for Her husband, and did eventually find Herself in Byblos. The story is quite long and complicated, but in the end She convinced the King to give Her the pillar, and when she returned to Egypt, She hid Osiris in a swampy area of the Nile delta, and bade Her sister, Nephthys, to watch over Him while She went in search of healing herbs. But Seth heard that Osiris was back, and so after interrogating His sister-wife, Nephthys, He found Osiris, cut His body into pieces, and threw them into the Nile.

Isis was horrified at what transpired in Her absence, but She immediately set to work on finding the many pieces of Her husband with the help of Her sister, Nephthys. They managed to find every piece of His body except His phallus, which had been eaten by an oxyrhyncus fish, a fish that was thus forbidden to eat.

With the pieces of Osiris reassembled, and the healing powers of Isis in full power, Osiris was brought back to life, but incomplete. Isis assumed the form of a kite, and from above drew out the seed of Osiris, impregnating Herself with Their child: Horus the Younger. But Osiris, still incomplete, could not properly rule over the land of the living any longer.

This is why He is the ruler of the dead––He was once the king of the living, was killed, and was resurrected, and this is what every ancient Egyptian expected and hoped would happen to them: that they would die and be resurrected. In tombs and mortuary temples you will always see Pharaohs associating themselves with Osiris.

But this long myth I have just told you is not the only version of the story, and in my opinion, it is definitely the longest version of the story. Back in the Old Kingdom and Middle Kingdom there were several different versions; for example, Set's motive is different, ranging from revenge for Osiris kicking him, to revenge for Nephthys (Seth's sister-wife) sleeping with Osiris (which eventually births Anubis). Some texts claim that Seth took on the form of a wild animal, such as a crocodile or a hippopotamus, and killed Osiris that way. In others, Osiris is drowned. In some, the steps surrounding the coffin are skipped, and Osiris is simply cut up, and His pieces scattered around Egypt; a version which explains the many cult centers of Osiris claiming to be a place where Osiris is buried. Osiris' resurrection is also often helped along by other Gods such as Thoth (God of wisdom) and Anubis (God of embalming). In some versions, Set is killed for His actions. In most He is simply defeated and driven from the land, as chaos is necessary for balance and harmony, and thus cannot be killed. And the story that I have told is from the Late Period, recorded by Plutarch, and does not really go along with many Egyptian accounts, which often find Osiris' penis intact.

So that is the Osiris myth with all of its' intricacies and changing rhythms over the course of 4,000 years of Egyptian history. It embodies a huge amount of cultural practices and religious ideas within ancient Egypt, including the idea of truth, harmony, and justice, as well as resurrection, the afterlife, healing, and the workings of the cosmos. I've decided to leave out the later parts involving Osiris' son, Horus, and His fight with Set, for now because this does not directly involve Osiris, and that is our topic for this post.

Tradition, History, and Culture

Worship of Osiris dates back to the Old Kingdom, but the idea of Osiris is likely older than this. Before Osiris was actually Khentiamenti, an agricultural God centered in Abydos, a city which would later become the cult center of Osiris. Khentiamenti means 'Foremost of the Westerners', a title for the ruler of the dead, as the dead resided in the west, where the sun set each day. But Osiris Himself is not found mentioned in any texts or carvings until the 5th Dynasty, where He is depicted as a man wearing a divine wig. Later on He would take on the form we know Him best in––wrapped in a white mummy shroud, wearing an atef crown with ostrich plumes on the sides.

The mummy shroud He is depicted in forever associates Him with death and with the essential story behind Him, which is why I found it so important to start off with the Osiris Myth. This myth is also why He consumed and took the place of Khentiamenti; the name Khentiamenti, Foremost of the Westerners, instead became a title for Osiris as the King of the blessed dead. Another common epithet/name of Osiris is Wennefer (Omnophris), meaning 'The Beautiful One', 'The Beneficent One', and more archaically, 'One Whose Body Did Not Decay'. Among these names He was also called 'The Lord of Love', 'The King of Living', and 'The Eternal Lord'. From the Early Dynastic Period up until the end of the Ptolemaic Dynasty, when Rome conquered Egypt, Osiris was one of the most highly worshipped and revered Gods of Egypt.

Osiris was associated with the Nile river, with its' renewal and life-giving abilities, as one of Osiris' domains and powers was fertility, as well as rebirth. Another of His duties, evidence of which originates in the New Kingdom, was to act as judge of the dead; being King, He sat on the tribunal with the 42 Judges in the famous Weighing of the Heart ceremony. In this ceremony, which took place in the afterlife, the deceased would have to stand before the court and place their soul up for judgement. If it weighed lighter than the feather of Ma'at, representing all justice, truth, and harmony, then the heart acted well in life and would be allowed eternal happiness in the Field of Reeds. If not, the heart, and thus the person, would be consumed by Ammit and committed to nothingness. So Osiris would sit in on this tribunal and judge who entered His kingdom, as it was His domain. In this role, and in His role as King of the Living, as well, He was the embodiment of harmony, law, and justice.

"Most of his appeal was based on his embodiment of the cosmic harmony. The rising Nile was his insignia, and the moon’s constant state of renewal symbolized his bestowal of eternal happiness in the lands beyond the grave. In this capacity he also became the model of human endeavors and virtues..." (The Complete Gods And Goddesses Of Ancient Egypt, p.307)

As I mentioned earlier, Abydos became His cult center, as it was the cult center of the God who came before Him, whose traits He subsumed. It became a very popular burial site, as legends would say that Abydos was where Osiris was truly buried, and the people wanted to be buried as close as possible to Osiris. At one point they believed an ancient tomb there––which was actually the tomb of an Early Dynastic King––to be the tomb of Osiris, which they much revered, and left so many offerings in clay pots that Arabs would later call the site 'Umm el Qa'ab'; Mother of Pots. But this was not the only burial site of Osiris; since many variations of the myth include Set chopping up and dismembering Osiris into many parts, ranging from 14 to 42 different parts. These parts were scattered across Egypt, so many cities and nomes could claim that they had a part of Osiris buried in their domain. For example, far in the south, the island of Bigah claimed to be the burial site of Osiris' left leg, and thus the source for the yearly Nile inundation.

Going back to the Osiris Myth, after Osiris died and became the ruler of the dead, His son took His place as King of the Living: the falcon God, Horus (Heru the Younger). After the brief bout of chaos brought about under Set's rule, Horus took over (after much deliberation from the Gods) and order was restored. Because of this story, Pharaohs would not only associate themselves with Osiris in death, but with Horus in life. Each Pharaoh, as they came to the throne, would become the living embodiment of Horus on earth, the son of Osiris. In this way, Isis was also the mother of every Pharaoh, and their protector. And, to added extent, each Pharaoh would have a personal name, and then a Horus name granted to them when they ascended to the throne.

"It is for this reason that Osiris is so often depicted as a mummified pharaoh; because pharaohs were mummified to resemble Osiris. The image of the great mummified god preceeded the practice of preparing the royal body to look like Osiris... The king's appearance as modeled after Osiris' extended throughout his reign; the famous flail and shepherd's staff, synonymous with Egyptian pharaohs, were first Osiris' symbols as the flail represented the fertility of his land while the crook symbolized the authority of his rule." (Osiris, World History Encyclopedia, Joshua J. Mark)

Osiris can also be represented by a number of physical symbols, such as the crook and flail that He carries in almost all representations of His earthly form. The crook, which is the striped hook He carries, represents power/authority, and is a symbol of the Pharaoh. The flail, which is the instrument in His other hand, represents the fertility of the Nile, and as an extension, the fertility of Osiris Himself. But the crook and flail, though both seen typically as symbols of Pharaonic power, are actually the tools of a shepherd. There is reasonable evidence, thusly, to suggest that the physical origins of the idea of Osiris may not be that of a great King, but of a ruler of a shepherd tribe in the Nile Delta, whose rule was so beneficent that it led to him being worshipped as a God. For Egyptologists, this theory comes from His association with Andjety, a predynastic God-King worshipped in the Delta who also bore the crook and flail as His symbols. This, however, has not and likely cannot be fully proven. But the postulation is still interesting nonetheless!

Osiris' ba soul had its' own culture of worship, a practice of soul-worship that is prevalent in the cults of several other Gods, such as Hathor (HwtHer). In this form, Osiris was known as Banebdjedet, meaning 'The Ba of the Lord of the Djed,' which in English terms means 'The Soul of the Lord of the Pillar of Continuity', as ba means soul, and djed is the symbol for a pillar, which represented the backbone of Osiris. Interestingly, the name Banebdjedet is feminine, as the letter t denotes a feminine word or name in ancient Egyptian; although there are also variations on this name that exclude the t in favour of the alternative, Banebdjed. Banebdjedet, Osiris' ba soul, was worshipped mainly in Mendes, a city in Lower Egypt, in the Delta.

This leads to an interesting point concerning the androgyny of Osiris, a subject I found while researching for this post. Osiris' fertility comes from His castration and then being healed by the mother Goddess, Isis. Not only that, but both men and women identified themselves with Osiris in death. Then the name for His ba personified as another God is feminine, although representations of Banebdjedet are overwhelmingly male. Before anyone attacks me, I am not claiming that Osiris is a genderless God or King––just that He has some traits of androgyny, which I find interesting and love to study in ancient cultures, and I thought it would be good to mention for anyone else similarly interested.

Worship, Festivals, and Cult Activities

When it comes to the practices surrounding Osiris' cult, we actually know a good deal of information regarding the activities of worshippers and priests. Osiris' cult and worship was so widespread and lasted long enough that it could be recorded by the earliest Greek historians, and remained carved in temple walls for thousands of years. Among the most well-known cultic tradition is the Osiris Bed.

The Osiris Bed is rather well documented, as it was an object placed in tombs. It was not a bed for the deceased to lie in, but instead a box made of wood or clay, moulded into the shape of Osiris, in which the fertile Nile soil was placed and seeds were planted. These boxes were then wrapped in white mummy linens, and the seeds sprouted through, representing the resurrection and fertility of Osiris, and the crops that grew each year in cycles. One of the most famous of these beds was found in King Djer's tomb, a King from the Early Dynastic Period; the 2nd King ever of the unified Egypt. Coincidentally (or, perhaps, not so coincidentally) King Djer's tomb was the tomb which pilgrims believed to be Osiris' burial site.

While the Osiris Bed is far from the only practice and tradition of the Osiris cult, it does show the rich cultural practices and symbolism present in His worship. Let's look at some other examples of the practices of Osiris' cult.

Similar to the Osiris bed were Osiris gardens, which were essentially the same concept; fertile soil was planted inside a vessel shaped into the form of Osiris, and seeds were settled within to grow. These beds were tended to during festivals instead of being buried in a tomb.

There were a great many festivals, and each of them quite popular according to their time period, dedicated to the story and symbolism of Osiris. Some festivals started with recounting the mournings of Isis and Nephthys, Osiris' sister-wife and sister, in the form of a drama acted out in a call-and-response format. Another drama acted out for the glory of Osiris was more in the form of an actual fight that anyone could participate in; it was modelled after The Contendings of Horus and Set, which I briefly mentioned as a long and drawn-out argument between Horus and Set over who deserved Osiris' vacant throne after He had died. On this occasion, people would battle out and reenact the events of the story until the side of Horus finally won and victory was achieved. Afterwards, the celebrations commenced in honoring the restoration of order, and the gold-encased shAwyt-nTr (the Holy Statue) of Osiris would be taken out and lavished with offerings. Osiris, in the form of this statue, would be paraded throughout the city of Abydos before being placed in a shrine outside, where He could participate fully in the festivities, and be admired by the commoners who would usually never behold the face of Osiris. This emergence of Osiris from the dark temple's inner sanctuary to the light of the city resembled and represented His resurrection from death into life again. Although this particular festival was celebrated mainly in Osiris cult center of Abydos, it was also celebrated in other cities such as Bubastis in the Delta, Busiris, Memphis, and Thebes, in Upper Egypt.

The Mysteries of Osiris was a series of plays performed annually, and in dramatic, passionate form. It was one of the most popular observances of worshippers, and it told the story that I first told to you––of Osiris' life, His death at the hands of His brother, His resurrection at the hands of His sister-wife, and His ascension into the role we now know Him for. The roles in this reenactments were often taken up by high-ranking officials, and afterwards, the Contendings of Horus and Set would take place, which I just mentioned. These plays would take place over several days.

One festival was called The Fall of the Nile. During this time, the waters of the Nile would recede, and the worshippers of Osiris would go into mourning. One of Osiris' representation on earth was the Nile, and the Nile represented His fertility and life.

Another festival was celebrated on the 19th day of Pakhons, one of the months in the Egyptian calendar, which is roughly equivalent to May in our Gregorian calendar. On this day, the followers of Osiris would go to the river with shrines containing vessels of gold and metal, and would pour water into the Nile, exclaiming, "Osiris is found!" Mud and spices were mixed and moulded into the shape of Osiris, as well, to celebrate His return. Another festival similar to this one was called The Night of the Tear, and took place during modern-day June.

The last festival pertaining to Osiris that I will mention is the Djed pillar festival, held in modern-day January. The Pharaonic court and family would participate, raising djed pillars to welcome Osiris and the harvests that coincided with His return.

One last and interesting tradition that may seem familiar to Christians, at least in a small way, was the baking of bread in the shape of Osiris; bread as the flesh of the God, a sort of predecessor of communion wafers. But in reality the traditions of the Osiris cakes are completely different, and there were several different ways of going about it, depending on which nome you were from. In Dendera, wheat-paste models were made in the shape of each of the 16 dismembered parts of Osirs, and each model was sent out to the town where each respective part of Osiris was found by Isis. In Mendes, figures of Osiris were made of wheat and paste. On the day of the murder, they were placed in a trough, followed by water being added each day for several days. Afterwards, this mixture was kneaded into a dough, put into a mold of Osiris, and buried on the temple grounds.

Conclusion

This has been a somewhat brief glimpse into the cult, history, and traditions surrounding the Great God, The Beautiful Lord Osiris. If I can clarify anything please let me know and I will do my best!

#Osiris #ancient egypt #egyptian mythology #egyptian gods #Kemetic #ancient history #egyptology #Kemeticism

[thegoblinwitch]

Ando (or Utagawa) Hiroshige, fragment of: Izanami and Izanagi on the Floating Bridge of Heaven (Ame no Ukihashi), 1849, woodblock print, 15 x 33.9 cm, Museum of Fine Arts, Boston.

#izanami and izanagi #japan creation myth #pre-modern art #woodblock print #japanese art #kit's #uploads

[transmutationisms]

i think you do a really impressive job balancing comprehensive/concise while referencing a lot of complex frameworks(contexts? schools of thought? lol idk what to call that. big brain ideas) but if you have any readings specifically on the institution of psychiatry topic that you would recommend/think are relevant, I'd be interested. it's absolutely not a conversation that's being had enough and I want to be able to articulate myself around it

yes i have readings >:)

first of all, the anti-psychiatry bibliography and resource guide is a great place to start getting oriented in this literature. it's split by sub-topic, and there are paragraphs interspersed throughout that give summaries of major thinkers' positions and short intros to key texts.

it's from 1979, though, so here are some recs from the last 4 decades:

overview critiques

mind fixers: psychiatry's troubled search for the biology of mental illness, by anne harrington

psychiatric hegemony: a marxist theory of mental illness, by bruce m z cohen

desperate remedies: psychiatry's turbulent quest to cure mental illness, by andrew scull

psychiatry and its discontents, by andrew scull

madness is civilization: when the diagnosis was social, 1948–1980, by michael e staub

contesting psychiatry: social movements in mental health, by nick crossley

the dsm & pharmacy

dsm: a history of psychiatry's bible, by allan v horwitz

the dsm-5 in perspective: philosophical reflections on the psychiatric babel, by steeves demazeux & patrick singy

pharmageddon, by david healy

pillaged: psychiatric medications and suicide risk, by ronald w maris

the making of dsm-iii: a diagnostic manual's conquest of american psychiatry, by hannah s decker

the myth of the chemical cure: a critique of psychiatric drug treatment, by joanna moncrieff

the book of woe: the dsm and the unmaking of psychiatry, by gary greenberg

prozac on the couch: prescribing gender in the era of wonder drugs, by jonathan metzl

the creation of psychopharmacology, by david healy

the bitterest pills: the troubling story of antipsychotic drugs, by joanna moncrieff

psychiatry & race

the protest psychosis: how schizophrenia became a black disease, by jonathan metzl

administrations of lunacy: racism and the haunting of american psychiatry at the milledgeville asylum, by mab segrest

the peculiar institution and the making of modern psychiatry, 1840–1880, by wendy gonaver

what's wrong with the poor? psychiatry, race, and the war on poverty, by mical raz

national and cross-national contexts

mad by the millions: mental disorders and the early years of the world health organization, by harry yi-jui wu

psychiatry and empire, by sloan mahone & megan vaughan

ʿaṣfūriyyeh: a history of madness, modernity, and war in the middle east, by joelle m abi-rached

surfacing up: psychiatry and social order in colonial zimbabwe, 1908–1968, by lynette jackson

the british anti-psychiatrists: from institutional psychiatry to the counter-culture, 1960–1971, by oisín wall

crime, madness, and politics in modern france: the medical concept of national decline, by robert a nye

reasoning against madness: psychiatry and the state in rio de janeiro, 1830–1944, by manuella meyer

colonial madness: psychiatry in french north africa, by richard keller

madhouse: psychiatry and politics in cuban history, by jennifer lynn lambe

depression in japan: psychiatric cures for a society in distress, by junko kitanaka

inheriting madness: professionalization and psychiatric knowledge in 19th century france, by ian r dowbiggin

mad in america: bad science, bad medicine, and the enduring mistreatment of the mentally ill, by robert whitaker

#sorry this is SO MANY things lmao #i wld recommend starting with harrington or scull as an intro and then maybe look at one of the more topic-specific texts #depending on what interests you specifically #book recs #psychiatry

[lillified]

do the characters, both autobots and decepticons, know primus is essentially their planet or do they view it as a myth? do they see primus as a god or worship him?

hey! that’s a very good question, which leads into the topic of:

Religion

There are several different accounts of the exact details of Cybertronian history, and that is down to several factors: decades of major conflict, information control, the hostile reign of the Quintessons, attempted eradication of language, and many other individual issues to boot. One idea especially in contention is creation.

The account which has dominated discussion for the majority of modern history is one of a divine creator, Primus. The thirteen original Primes, considered to be the first Cybertronians, recall an immense being, Primus, being the source of all life. Many accounts (including Alpha Trion himself) take this literally, depicting Primus as a sort of deity. In this version of events, all elements of Cybertronian history, including the Primes themselves, take on a very mystical quality.

Though the religious angle is the popular one, a different version of the narrative gained interest into the later stages of the Zeta era, especially in scientific circles. Cybertron is not actually a “planet” in the scientific sense of the term—in reality, it is a mass of rock, metal, and space debris encasing a massive “superorganism,” a planet-sized living thing on which the Cybertronians are comparatively microscopic. It is from this organism that all Energon is extracted, and, as far as science is aware, this organism is the only naturally occurring source of it that exists. Its death would inevitably mean the death of all Cybertronian life, in time.

Nobody is in debate about the existence of this organism: what makes it controversial is the speculation surrounding it. Recently, a wave of scientific questioning has posited an evolutionary link between this organism and all life on Cybertron, suggesting that, in one way or another, the superorganism is the last recorded ancestor. The theory suggests that Titans, a class of life on Cybertron, are the closest relatives of the Cybertronians, establishing a direct link to the planet’s modern inhabitants.

Albeit plausible, this theory is extremely controversial in religious circles. Many modern fields of science have named the planetary being the “Primus superorganism,” which, in the minds of many, is sacrilegious. Titans being related to modern Cybertronians would undermine many of the proposed ideas of divine destiny and significance spread throughout history. The Titans themselves are “monstrous” in appearance and behavior, and the idea of Cybertron’s forefather being something so unrecognizable is an existential prospect. In the modern day, these opposing clades of belief, called “divine truthers” and “Titan originalists” clash mercilessly.

While a breadth of modern knowledge supports the latter conclusion, it does beg the question: if this is true, why do so many, including original Primes themselves, dispute the idea? The answer may also lie in history. Alpha Trion fought on the side of Prima in the First War, a devastating conflict which split the original Primes and their people down the middle. Following the defeat of Megatronus and their allies, it was in Prima’s favor to control all accounts of history, writing them to be in his favor as the destined winner of this conflict. Even following his death, and, eventually, the reign of the Quintessons, this reasoning stuck around, finding new life as a way to hold up pre-Quintesson era Cybertron as a wonderful, utopian society. Alpha Trion was not a stranger to omitting and adjusting his accounts of history to make his place in it less controversial. Still, though, there is a very real chance we will never know whether he believes what he says.

#transformers #ask #text post #text #lore #maccadam #sci-fi

[jojotier]

Okay but like I wonder if earth c has a genre of media thats just modern retellings / retellings/ Reimaginings of the events of the game but like the denizens of earth c treat those events like we treat mythology.

Like imagine if you will. Youre like, Dirk or someone right, and you hear about this niche indie folk group called the Machinations or whatever who pretend to be immortal space pirates. theyre supposed to do a lot of tragedies. Not really your scene but whatever.

Then you learn that apparently the bit of the game where you chop your head off and ship it to Jake for a smooch is a bonafide Myth, with all the Trappings of religious ceremony and discourse. Very weird to think about, but again, whatever.

Then you learn that the Machinations have Retold This Story. In song form. And youre like okay wait what bc theres an entire subset of people going wild over it so you listen and the song is a jaunty electroswing deal where a half feral Brittish man pretending to be you sings about needing a lil love to heat up along with the heat of the literal volcano

So you are now realizing theres an entire album of these things reimagining your creation of the entire universe as a 1920s esque bootlegging operation gone horrorterrors with cosmic horror somehow and you gotta wonder. What goes through your head there? Hope no one knows yet? Indifference? Annoyance that the sole rap number on the album was given to Jane and Gumshoe Gunshow ? like what do you as god do when people are writing highly marketable fanfiction about you

#homestuck #dirk strider #dirkjake #i was listening to mechs albums again gjksfk #idk man listening to an album about arthurian knights but as tragic space cowboys and trans mordred kinda rewired something #i just didnt wanna use the real name of the band bc like gjkskfi those were real people #this is just a silly thought #anyway listen to the bifrost incident

[what-even-is-thiss]

In the world of flowery language and weird tangents that is Ancient Greek literature sits a standout example of plain and clear simple language. The Library.

In his translator’s note for the 1997 English translation Robin Hard said “This is a utilitarian work which offers no promise of literary delight.”

And yet I just keep going back to it. It’s a collection, a library, if you will, of little summaries of Greek myths, roughly in chronological order as the average person understood it.

Modern editions usually add in a table of contents and chapter breaks, essentially turning it into a mythology dictionary of sorts.

The writing of this basically reference book is often credited to the historian Apollodorus but we now know that was probably impossible and we don’t know who actually wrote it. Whoever they were, they weren’t interested in being artistic.

“After he had fashioned men from water and earth, Prometheus also gave them fire, which he had hidden in a fennel stalk in secret from Zeus.”

And that’s that. Statement of what happened. No epithets or beating around the bush to be seen. And I just find it to be so fascinating whenever I return to it. It’s the bare bones of myth telling. Just something to check when you’ve forgotten.

To the point where I would actually recommend it to people new to Greek mythology, actually. With modern translations often having a detailed table of contents you can flip through it like a reference guide relatively easily. If something in it sounds interesting to you then you can look into it further elsewhere. It’s got almost everything from the creation of the world to the Trojan war in it. Truly a fascinating little book from the late days of pagan rule in the Mediterranean.

#roman said a thing