1435 réponses à ce sujet

[tsunamitigerdragon]

. 

[Giton]

Tenebrium Lavellan awaits Falon'Din's command to take up the mantle of the owl and bathe the world in blood, fire, sex, blight, and glitter.

Dear God do I hope someone stops her from answering that command.

My body is ready.

[tsunamitigerdragon]

. 

[Mims]

Honestly, this reminds me of how the Old Gods were said to have communicated with the neromerians/ early human population of Thedas.

 

That is a very good point. Seems like that really could be another connection between the two groups. 

[Nightspirit]

I kind of like the idea that they are "in tune" to her.  Like they are some sort of hive mind and she's just waiting to switch them all to "kill all humans" mode.

 

 For some mysterious reason, this made me think of the following scene from SP:

 

Spoiler

 

Also, I'm getting the vibe that if Falon'Din used Bender's approach...

Spoiler

 

...the human race wouldn't stand a chance.

[Mims]

I wonder if the elven gods would actually target humans rather than purge them, if they did come back. 'Their' elves are mostly gone. They certainly aren't particularly sympathetic in regards to elven life. Why not go for the group most in power and work your way down?

 

Alternatively, could also attempt to reign in the Kossith, if rumors about their origins are true. 

[Maria13]

Yes, or:

 

Spoiler

 

 

 

You mean the "monstruous feminine"?

 

"she [Barbara Creed] aims at providing a definition that may push the discussion beyond a mere dualism concerning the gender of the monster. Moving from a feminist perspective to a psychology oriented analysis, her arguments move on to attack Freudian concepts of human psyque. Rooted in his explanations of the Oedipus complex, Freud suggests that a woman terrifies because she is a castrated human being. Instead, Creed defends that women are primarily terrifying because they might castrate. In other words, while Freud formerly claimed that women terrify because they are abnormally castrated, Creed seeks to dismantle these assumptions by holding forth that the monstrous feminine is exactly men’s fear of the woman as a castrating other. Creed’s theory is underpinned by a reversal of Freudian patriarchal world-view which holds the woman as an “incomplete” human being. In reply to Freud’s male-centred views she claims that the woman is whole without a penis and that, along with the reproductive body, is what causes fear in men."

[tsunamitigerdragon]

. 

[Maria13]

I freaking love this. Thank you. Returning to the Motley Crue/ hair metal glitterotica discussion we had yesterday, this most definitely is mirrored in their music video Looks that Kill. The only way to deal with the woman who cannot be subdued, rebuffs their advances, and is as monstrous as the males around her is to seal her away. Her presence is too terrifying, too horrible to allow coexistence.

 

Yup, if Falon'Din pulled that one on me, I'd name change so fast they'd think I was the Herald of Falon'Din all along.

 

Yay I'm finding my evening classes particularly inspiring at the moment we will be discussing Spider (starring Ralph Fiennes and Miranda Richardson, yes Queen Elizabeth in Blackadder!) and Let the Right One in today... 

[Delphine]

Let the Right One In

 

One of my favorite movie

[BoscoBread]

You mean the "monstruous feminine"?

 

"she [Barbara Creed] aims at providing a definition that may push the discussion beyond a mere dualism concerning the gender of the monster. Moving from a feminist perspective to a psychology oriented analysis, her arguments move on to attack Freudian concepts of human psyque. Rooted in his explanations of the Oedipus complex, Freud suggests that a woman terrifies because she is a castrated human being. Instead, Creed defends that women are primarily terrifying because they might castrate. In other words, while Freud formerly claimed that women terrify because they are abnormally castrated, Creed seeks to dismantle these assumptions by holding forth that the monstrous feminine is exactly men’s fear of the woman as a castrating other. Creed’s theory is underpinned by a reversal of Freudian patriarchal world-view which holds the woman as an “incomplete” human being. In reply to Freud’s male-centred views she claims that the woman is whole without a penis and that, along with the reproductive body, is what causes fear in men."

OUT OF LIKES. THERE IS A QUOTE. I was legit obsessed with Dionysiac poetics in my senior year because Euripides and the "monsterous feminine".  There is a quote by James Hillman that stuck with me regarding Apollonian consciousness(when looking at the Bacchae) " This structure of consciousness has never known what to do with the dark, material, and passionate part of itself except to cast it off and call it Eve." 

 

Now I have so many many many feelings regarding Andruil.

[deedylovescake]

Yay I'm finding my evening classes particularly inspiring at the moment we will be discussing Spider (starring Ralph Fiennes and Miranda Richardson, yes Queen Elizabeth in Blackadder!) and Let the Right One in today... 

Let the Right One In~~~~ that movie made me so uncomfortable it's so well done.
 

 

OUT OF LIKES. THERE IS A QUOTE. I was legit obsessed with Dionysiac poetics in my senior year because Euripides and the "monsterous feminine".  There is a quote by James Hillman that stuck with me regarding Apollonian consciousness(when looking at the Bacchae) " This structure of consciousness has never known what to do with the dark, material, and passionate part of itself except to cast it off and call it Eve." 

 

Now I have so many many many feelings regarding Andruil.

Damn that's fantastic.

[tsunamitigerdragon]

. 

[Giton]

OUT OF LIKES. THERE IS A QUOTE. I was legit obsessed with Dionysiac poetics in my senior year because Euripides and the "monsterous feminine".  There is a quote by James Hillman that stuck with me regarding Apollonian consciousness(when looking at the Bacchae) " This structure of consciousness has never known what to do with the dark, material, and passionate part of itself except to cast it off and call it Eve." 

 

Now I have so many many many feelings regarding Andruil.

Euripedes's Bacchae is life; the Bacchae is love.

 

Dionysian poetics where "the abyss looks back." YES!

 

I'm not too into making a hard and fast spilt between Apollonian/Dionysiac poetics, because I think it tends to make people mentally partition the two. I'm not saying you were, but when you mention the two, people, including me, tend to mentally separate the two.

 

Imagine a Dionysiac Arlathan steeped in eros, understanding abandon, but not Dionysiac in the sense that is of representative of nature in opposition to Apollonian ideas of culture and civilization. But a Dionysian City that understands that at the heart of the city-state lies both transcendental serenity and order as well terrifying violence and frenzy.

 

Such is my idea of Glitterotica Arlathan.

 

It's worth noting the Bacchus/Dionysis was a male god with a special relationship to women. He is terrifying and androgynous. And is representative of both masculine and feminine. He represents both horrible violence and tragedy as well as transcendental frenzy and the sublime; both the sacred and the profane. 

 

Falon'Din is the Bacchus of my heart.

 

Also Caravaggio's Bacchus. Yes.

 

Edit: Out of likes, but I like everything on this page.

[deedylovescake]

UGH. See, I believe this thing. I take it that Andruil's delving into the depths of the Void, hunting it, only to return with armor and weapons crafted from it, having been altered so much that all forgot her face is essentially the Eve of the Elvhen Pantheon. She takes the forbidden fruit - the blight - and the rest of the Pantheon falls with her. Falon'Din in particular following suit, Dirthamen killing Mythal in revenge for bloodying Falon'Din in his own temple.

I remember seeing something from David Gaider that the original inspiration for DA was something like "What if Jesus was Joan of Arc" so I love the idea that they would have included as many parallels as possible.

[Delphine]

I remember seeing something from David Gaider that the original inspiration for DA was something like "What if Jesus was Joan of Arc" so I love the idea that they would have included as many parallels as possible.

 

Ah, so me thinking Andraste is pretty close to Joan of Arc wasn't odd, then! I just didn't see anything talking about it anywhere, so wasn't sure at all.

[tsunamitigerdragon]

. 

[Maria13]

Also Caravaggio's Bacchus. Yes.

 

The sick boy. Yes.

 

If you read the book Let the Right One In, and I highly recommend it, you also discover that the little vampire, Eli, is ambiguously gendered...

[deedylovescake]

Ah, so me thinking Andraste is pretty close to Joan of Arc wasn't odd, then! I just didn't see anything talking about it anywhere, so wasn't sure at all.

 

And now I feel absolutely vindicated in my suspicion that Milton's Satan weaseled his way into this narrative.

And now I wish I remembered where I saw it. Probably in an article linked to on tumblr somewhere so I'll never be able to find it. 

[Delphine]

If you read the book Let the Right One In, and I highly recommend it, you also discover that the little vampire, Eli, is ambiguously gendered...

 

That's already highly hinted at in the original swedish movie, though...

[tsunamitigerdragon]

. 

[BoscoBread]

Euripedes's Bacchae is life; the Bacchae is love.

 

Dionysian poetics where "the abyss looks back." YES!

 

I'm not too into making a hard and fast spilt between Apollonian/Dionysiac poetics, because I think it tends to make people mentally partition the two. I'm not saying you were, but when you mention the two, people, including me, tend to mentally separate the two.

 

Imagine a Dionysiac Arlathan steeped in eros, understanding abandon, but not Dionysiac in the sense that is of representative of nature in opposition to Apollonian ideas of culture and civilization. But a Dionysian City that understands that at the heart of the city-state lies both transcendental serenity and order as well terrifying violence and frenzy.

 

Such is my idea of Glitterotica Arlathan.

 

It's worth noting the Bacchus/Dionysis was a male god with a special relationship to women. He is terrifying and androgynous. And is representative of both masculine and feminine. He represents both horrible violence and tragedy as well as transcendental frenzy and the sublime; both the sacred and the profane. 

 

Falon'Din is the Bacchus of my heart.

 

Also Caravaggio's Bacchus. Yes.

 

Edit: Out of likes, but I like everything on this page.

This. THIS. THIS(Katie SCREAMED).  ALL OF THIS. And then the bolded part.     Falon'Din has always been Dionysus to me and for anyone that calls him a pansy clearly never read those plays or totally missed the dam point.  He is wonderful.  He is terrifying. He is everything.   I have so many feelings about this right now.  OUT OF THE TRASH HEAP I FLY. I heart you Giton

[Giton]

And now I feel absolutely vindicated in my suspicion that Milton's Satan weaseled his way into this narrative.

Yes.

 

Satan's Soliloquy to the Sun, From Book IV of Paradise Lost.

 

So, so good. 

 

Spoilered for length.

 

Spoiler

 

[Context: This is when Satan first beholds Eden. He speaks to God (the Sun) and allows himself to feel the immensity of what was lost. But he has chosen his course and praises his freewill and vows to never submit. When he says "Evil be thou my good," I get shivers. Every time. It's long. I bolded particularly resonant parts for the TLDR crowd. No, I don't think Solas = Satan. Solas is not cool enough. Also the hyperlinks reference an online resource that is pretty good. I don't know what happened with the formatting. I failed.]

 

 

O thou that with surpassing Glory crownd,
Look'st from thy sole Dominion like the God
Of this new World; at whose sight all the Starrs
Hide thir diminisht heads; to thee I call, [ 35 ]
But with no friendly voice, and add thy name
O Sun, to tell thee how I hate thy beams
That bring to my remembrance from what state
I fell, how glorious once above thy Spheare; 
Till Pride and worse Ambition threw me down [ 40 ]
Warring in Heav'n against Heav'ns matchless King:
Ah wherefore! he deservd no such return
From me, whom he created what I was 
In that bright eminence, and with his good
Upbraided none; nor was his service hard. [ 45 ]
What could be less then to afford him praise,
The easiest recompence, and pay him thanks,
How due! yet all his good prov'd ill in me,
And wrought but malice; lifted up so high
I disdained subjection, and thought one step higher [ 50 ]
Would set me highest, and in a moment quit
The debt immense of endless gratitude,
So burthensome, still paying, still to ow;
Forgetful what from him I still receivd,
And understood not that a grateful mind [ 55 ]
By owing owes not, but still pays, at once
Indebted and dischargd; what burden then?
O had his powerful Destiny ordaind
Me some inferiour Angel, I had stood
Then happie; no unbounded hope had rais'd [ 60 ]
Ambition. Yet why not? som other Power
As great might have aspir'd, and me though mean
Drawn to his part; but other Powers as great
Fell not, but stand unshak'n, from within
Or from without, to all temptations arm'd. [ 65 ]
Hadst thou the same free Will and Power to stand?
Thou hadst: whom hast thou then or what to accuse,
But Heav'ns free Love dealt equally to all?
Be then his Love accurst, since love or hate,
To me alike, it deals eternal woe. [ 70 ]
Nay curs'd be thou; since against his thy will
Chose freely what it now so justly rues. 
Me miserable! which way shall I flie
Infinite wrauth, and infinite despaire?
Which way I flie is Hell; my self am Hell; [ 75 ]
And in the lowest deep a lower deep
Still threatning to devour me opens wide,
To which the Hell I suffer seems a Heav'n.
O then at last relent: is there no place
Left for Repentance, none for Pardon left? [ 80 ]
None left but by submission; and that word
Disdain forbids me, and my dread of shame
Among the Spirits beneath, whom I seduc'd
With other promises and other vaunts
Then to submit, boasting I could subdue [ 85 ]
Th' Omnipotent. Ay me, they little know
How dearly I abide that boast so vaine,
Under what torments inwardly I groane:
While they adore me on the Throne of Hell,
With Diadem and Sceptre high advanc'd [ 90 ]
The lower still I fall, onely Supream
In miserie; such joy Ambition findes.
But say I could repent and could obtaine
By Act of Grace my former state; how soon
Would higth recall high thoughts, how soon unsay [ 95 ]
What feign'd submission swore: ease would recant
Vows made in pain, as violent and void.
For never can true reconcilement grow
Where wounds of deadly hate have peirc'd so deep:
Which would but lead me to a worse relapse [ 100 ]
And heavier fall: so should I purchase deare
Short intermission bought with double smart.
This knows my punisher; therefore as farr
From granting hee, as I from begging peace:
All hope excluded thus, behold in stead [ 105 ]
Of us out-cast, exil'd, his new delight,
Mankind created, and for him this World.
So farewel Hope, and with Hope farewel Fear,
Farewel Remorse: all Good to me is lost;
Evil be thou my Good; by thee at least [ 110 ]
Divided Empire with Heav'ns King I hold
By thee, and more then half perhaps will reigne;
As Man ere long, and this new World shall know.

 

Thus while he spake, each passion dimm'd his face
Thrice chang'd with pale, ire, envie and despair, [ 115 ]
Which marrd his borrow'd visage, and betraid
Him counterfet, if any eye beheld.

 

[tsunamitigerdragon]

.