#cultural narrative

[indizombie]

Text, a term drawn upon the Latin ‘textile’ and ‘texture’, was used to indicate the state of ‘being woven together.’ Texts, be it the ‘sutra-path’ of Panini or the ancient Roman ‘textum’ or the early American text ‘The New England Primer’ or the colonial textbooks discussed by Dharampal in his work on pre-colonial education, all had a common purpose. It was to weave the minds of children together into a dominant national or cultural narrative. All textbooks are based on this principle, in both good and bad times. Mahatma Gandhi had, therefore, written in 1937 that “if textbooks alone are to be used as vehicle of knowledge, the living presence of a teacher’s mind will have no space in education.”

GN Devy, ‘The spirit of Karnataka in jeopardy in textbooks’, Deccan Herald

[optikes]

Nalini Malani (b.1946) India  Listening to the Shades 30 acrylic, ink and enamel reverse painting on acrylic sheet (2008)

http://www.nalinimalani.com/

Nalini Malani is one of India’s most celebrated artists and the Dr Bhau Daji Lad Museum is proud to present her work Listening to the Shades, and to honour her for receiving the prestigious Fukuoka prize for Art and Culture. Malani brings an intense scrutiny of social and political pathologies to her work, which includes a remarkable diversity of mediums from painting to installation, new media, performance and sound animation. However in a world where painting as an art form has sadly diminished in significance, Malani continues to be an artist whose painting defines her art form. She has in a sense bridged the lacuna between the new media art of today and the painterly qualities of an earlier generation, and that is one of the reasons she remains one of the most significant artists working today. Her work at the most recent Documenta was an extraordinary culmination of this creative exploration. The Fukuoka prize commends her for “consistent focus on such daring contemporary and universal themes as religious conflict, war, oppression of women and environmental destruction...” Malani sees the artist as a Cassandra of our times. She draws on archetypal images from the Greek myths to represent universal truths. Cassandra, the prophetess who agonisingly sees the disaster ahead but is condemned to never being believed, is a metaphor for our common myopia and for the subjugation of the feminine. Malani collaborated with Professor Robert Storr of Yale University, to produce the book Listening to the Shades, based on the modern interpretation by Christa Wolf. The book offers a revisualisation of the ancient Greek myth and consists of 42 reverse paintings that are facsimile printed. The works evoke the traumas of our times, like ghostly characters seeking to redeem the past and rescue the future. In the essay for the book Professor Storr says, “Malani’s work indicates that she has tapped into fathomless reserves of imagery, reference and metaphor, and from those depths arise painterly effects that invite us to luxuriate in colours strokes and textures of disorienting but arresting strangeness. Her iconography is equally captivating. Not only does she conjure with difference…she reaches back to myth, but not in order to re-enchant the world...but to show us that we can no longer escape a collective awareness that the seeds of our own destruction were not divinely sown but were sown by ourselves.”  www.bdlmuseum.org

http://fukuoka-prize.org/en/laureate/prize/cul/nalinima.php

[tiredyke]

every time queer discourse surges on this site everyone is so quick to jump to “it was actually the evil lesbians who divided us” because y’all heard the term “political lesbian” and never bothered to figure out what that meant

[ignitesthestxrs]

there's something about the way people talk about john gaius (incl the way the author writes him) that is like. so absent of any connection to te ao māori that it's really discomforting. like even in posts that acknowledge him as not being white, they still talk about him like a white, american leftist guy in a way that makes it clear people just AREN'T perceiving him as a māori man from aotearoa.

and it's just really serves to hammer home how powerful and pervasive whiteness and american hegemony is. because TLT is probably the single most Kiwi series in years to explode on the global stage, and all the things i find fraught about it as a pākehā woman reading a series by a pākehā author are illegible to a greater fandom of americans discoursing about whether or not memes are a valid way of portraying queer love.

idk the part of my brain that lights up every time i see a capital Z printed somewhere because of the New Zealand Mentioned??? instinct will always be proud of these books and muir. but i find myself caught in this midpoint of excitement and validation over my culture finding a place on the global stage, frustration at how kiwi humour and means of conveying emotion is misinterpreted or declared facile by an international audience, frustrated also by how that international audience runs the characters in this book through a filter of american whiteness before it bothers to interpret them, and ESPECIALLY frustrated by how muir has done a pretty middling job of portraying te ao māori and the māoriness of her characters, but tht conversation doesn't circulate in the same way* because a big part of the audience doesn't even realise the conversation is there to be had.

which is not to say that muir has done a huge glaring racism that non-kiwis haven't noticed or anything, but rather that there are very definitely things that she has done well, things that she has done poorly, things that she didn't think about in the first book that she has tacked on or expanded upon in the later books, that are all worthy of discussion and critique that can't happen when the popular posts that float past my dash are about how this indigenous man is 'guy who won't shut up about having gone to oxford'

*to be clear here, i'm not saying these conversations have never happened, just that in terms of like, ambient posts that float round my very dykey dash, the discussions and meta that circulate on this the lesbian social media, are overwhelmingly stripped of any connection to aotearoa in general, let alone te ao māori in specific. and because of the nature of american internet hegemony this just,,,isn't noticed, because how does a fish know it's in the ocean u know? i have seen discussions along these lines come up, and it's there if i specifically go looking for it, but it's not present in the bulk of tlt content that has its own circulatory life and i jut find that grim and a part of why the fandom is difficult to engage with.

[clambuoyance]

[DC] doodled these two a lot this week

[aragornsrockcollection]

Isn’t it funny that you never see anyone throwing a hissy fit over the inclusion of flora not native to Medieval Europe in Tolkien or other fantasy works.

Tomatoes, tobacco, POTATOES, tea and sugar, are all perfectly acceptable and normal for Tolkien to have included in Middle earth, but depict a single character with brown skin, and suddenly it’s not realistic, and WHAT ABOUT OUR HERITAGE.

Forget that we don’t analyze the heritage of white actors playing these rolls to make sure they’re from the proper culture to represent Tolkien’s extremely English story. Has a single person ever complained that Frodo and Sam were played by Americans when Hobbiton is CLEARLY based on rural England?

According to some, Hobbits can grow food and other crops that were only introduced into Europe through the violence of imperialism, but to have the hobbits look like the people who originally grew those crops is sacrilegious.

Medieval Europe, which wasn’t as homogenous as people think anyways, is only ever trotted out to justify hating the inclusion of black and brown characters.

If Sam can wax poetic about potatoes, he can look like came from Peru, like potatoes did.

And if that idea bothers you, maybe examine why.

[direquail]

One of the many things I find funny and irritating is the slant of a lot of interpretations of Alecto's name (that it's about feminine rage)--on this here wlw internet in the year of our lord 2024, it's easily made to figure as rage against God, or rage against patriarchy, or religious oppression, and therefore an allusion to the idea that she's going to get her vengeance on John for betraying and oppressing her somehow, but like

John is the one who named her Alecto. He's the one who named her that. So, naming her "Alecto" is alluding to the embodiment of John's rage--their rage, since they are joined inseparably (John even explicitly says that when he first perceives her: "You wouldn't stop screaming. You were so scared. You were so goddamn mad").

He says of Alecto to Harrow, "In a very real way, you are [Alecto's] children". At a very surface level, Alecto is (depending on the text or tradition), one of the Furies--famously, in several surviving Greek tragedies, who punish Orestes for the crime of killing his mother. In fact, in Aeschylus' Oresteia, they declare that they are specifically bound to avenge matricide.

So the name "Alecto" alludes to the nature of John's mission and how he sees it.

It also implies that his divine rage, the rage that gives him power, the power that makes him divine, that he either represents or wants to represent, is feminine rage. He was chosen by Earth (which, Furies are sometimes the daughters of Gaia); he is her champion, however he's managed to fuck that up. Once the truth of that comes out, it becomes clear that all of his power comes from her.

And that's why you get statements from Tamsyn Muir like:

“[T]he God of the Locked Tomb IS a man; he IS the Father and the Teacher; it’s an inherently masc role played by someone who has an uneasy relationship himself to playing a Biblical patriarch. John falls back on hierarchies and roles because they’re familiar even when he’s struggling not to. Even he identifies himself as the God who became man and the man who became God. But the divine in the Locked Tomb is essentially feminine on multiple axes – I think Nona will illuminate that a little bit more."

So yes, he plays the role of Emperor and God and Teacher, with all of the things that implies. And I don't think it should be discounted. But he also is (and partly sees himself as) the chosen champion of a goddess, or what is for all intents & purposes for a human like him a goddess. He is her avenger, and while she sleeps, her avatar.

And I don't think we're meant to read him purely as a parasite who's taking advantage of her to gain power for himself, either. Or an oppressive, Kronos-like figure. Especially if you consider Palamedes' theory of the Grand Lysis, even if he was purely motivated by desire for power before (which I really doubt), there are parts of each in the other, now. What was clear and separate before is uncertain and interpenetrated. Is his rage his own, or hers? Is his mission of revenge his, or hers? If he wants power, is that his own selfishness, or her desire to survive?

And does it matter?

[wingsofhcpe]

also like kudos to mr Jorge Rivera-Herrans and his team because Epic the Musical feels like the only ancient greek-inspired medium I've encountered so far that doesn't fetishise, appropriate and misrepresent ancient Greece, and as a greekTM myself I really appreciate that??? Breath of fresh air after the personal hell that's Madeline Miller's & Rick Riordan's works.

[chamerionwrites]

"The ordinary response to atrocities is to banish them from consciousness. Certain violations of the social compact are too terrible to utter aloud: this is the meaning of the word unspeakable.

Atrocities, however, refuse to be buried. Equally as powerful as the desire to deny atrocities is the conviction that denial does not work. Folk wisdom is filled with ghosts who refuse to rest in their graves until their stories are told. Murder will out. Remembering and telling the truth about terrible events are prerequisites both for the restoration of the social order and for the healing of individual victims."

--Judith Herman, Trauma and Recovery

[finalgirlsamwinchester]

guy who so desperately tries to find god. who wants to have faith in a higher authority to guide him out of the hole he's in. from the weight of guilt from simply existing, as the person he is. but every time he thinks he's answered his higher calling it turns out he's made the Morally Incorrect choice and his path to goodness and holiness was the road to the devil all along

[mikami]

Death Note as a show is such a 'trying to order a milkshake at home depot' situation to many people - I've seen it claimed over and over that Code Geass or Monster are equivalent to if not better than Death Note because they do human drama so much better.

And it just makes me stare at a wall because Death Note was never meant to be about interpersonal drama or grand nuances of morality. Of course that is part of what we take out of it and focus on as readers, but it was never meant to be the main focus at all.

Death Note isn't failing these aspects, because failing something implies that you were actually trying to accomplish it.

At its core, Death Note is a suspense story designed to entertain people. That's it. That's the goal here. And it's good at that goal.

I think once you realize this, it is easier to make peace with the canon.

[david-talks-sw]

What are your thoughts on the je'daii? Do they even work, like I find myself irritated by the concept because people often use them to validate/prove the notion that "balance = both sides of the Force"

If you stick to what George Lucas said, in Star Wars a person being "balanced" is someone who accepts their inner darkness and resists its pull nonetheless.

When fans mention the Je'daii, it's usually in the context of:

"The Jedi downgraded from the Je'daii, limited their studies of the Force, refusing to study the Dark Side was a mistake. It was an original sin that caused them to create an imbalance within them."

Which is weird, to me, because the whole point of the comic's narrative is that:

the Je’daii Order’s way was doomed to fail.

Introduced in the Legends comic series Dawn of the Jedi (2012), the Je'daii are the predecessors of the Jedi. They are an order of Force users who studied and practiced both the Light Side and the Dark Side in hopes of finding Balance.

The reasoning is simple: everyone has a bit of good and bad in them, you learn to master the good and the bad sides inside of you, indulging them equally. But while this method seems sound on paper… it didn't work.

Consider that they’re already dabbling with the Dark Side...

... but hey, at least they’re aware of its dangers, they’re trying to be responsible about it.

There's a support system where they all warn each other when they're about to cross a line. But even then, there's many who've fallen and been exiled to a moon, to be rehabilitated.

Suddenly, circumstances compel all of them to use the Forcesaber, a weapon that only activates when you draw on the Dark Side.

And that does something to them. Over the course of a year, they all become increasingly aggressive.

Soon, a faction breaks off because they no longer want to stop using the Forcesaber. They’re addicted to the Dark Side.

A war ensues, at the end of which the Jedi Order is born, a group of Force users who:

acknowledge and accept their inner darkness,

while also striving to overcome it rather than give it power.

So that’s the moral of the whole Je’daii story.

Their idea of "Balance by wielding both" was actually so fragile and difficult to maintain that all it took was a little push for them to become vulnerable to the Dark Side's temptation.

Hell, even after the Jedi Order was established, one of its founders, Master Rajivari - who in Dawn of the Jedi (2012) is framed as a wise ex-general who, albeit strict, spends his days meditating and philosophizing - he goes to the Dark Side too! 

Because that's how the Dark Side works.

The Dark Side isn’t just "negative feelings" or a "bad guy superpower" that you can mix with a "good guy superpower" to unleash the ultimate 'Force blast'. This isn’t an anime.

The Dark Side is a drugs/smoking/drinking addiction.

It's selfish, temporary pleasure. The more you consume it...

... the more you get addicted...

... and the more it consumes you right back...

... until nothing remains.

Jon Ostrander, who wrote Dawn of the Jedi (2012), echoed this sentiment multiple times:

“As I see it, those working on the light side work with the Force, channeling it, open and sensitive to what it tells them. They serve it. Those on the dark side try to impose their will on the Force, to make it do their will, to make it serve them. The Je’daii believe in a balance between the light and the dark side and so attempt to use both. Problem is, a balance is hard to maintain and the dark side is so very seductive.” - John Ostrander, LA Times, 2012

“The Je'daii aren't light side or dark side, although they know and are aware of both. Instead they seek a balance in the Force between light and dark. Balance, however, is a difficult thing to maintain and there is always the danger of falling wholly to the dark side — and some Je'daii have done so.” - John Ostrander, Newsarama, 2012

And this is a recurring theme throughout all of Ostrander’s comics, by the way. Be it with the Je’daii, but also with Quinlan Vos or Cade Skywalker, the point remains the same: 

"Yes, wielding the Dark Side gives you great power, and you get to show off some badass new tricks...

… but it ultimately destroys you and everyone around you."

Remember: if it weren’t for Cade or Quin’s loved ones, neither of them would have come back from the Dark Side. They aren't badasses because they can use Force Lightning, they're badasses because they found the strength to give that up.

So if you genuinely think the Jedi "downgraded" by refusing to give the Dark Side more power than it already has on them... you're missing the point.

“It’s not about ripping things out of the sky using the Force or Force Lightning. A lot of people, they think “oh look how powerful Vader is, look how powerful the Emperor is, I want to play be the bad guy because I get these powers”. It’s an empty feeling, at the end of the day, after the moment. [...] The Dark Side is a spiral downward that you’re trapped in.” - Dave Filoni, “Force of Rebellion”, 2018

It was an upgrade.

Framing "balance" as "equal Dark and Light Side" is like consuming one (1) salad a day and one (1) whole bottle of vodka and calling that "balanced". No, buddy, that'll kill you. Because:

The vodka is better at being destructive than the salad is at making you healthy.

It's won't stay just one bottle per day. It'll eventually become two, three, etc.

Because as George Lucas stated time and again, resisting the Dark Side is a constant struggle.

So that's my two cents.

You've probably already heard about the recent announcement of a Dawn of the Jedi feature film, a biblical epic that will be directed by James Mangold.

And truth be told... it scares me SO much that we came THIS close to an Episode IX: Duel of the Fates that framed "balance" as - you guessed it - giving equal power to your light and darkness.

Like, how did this ⬆️ get as far as it did? Did nobody think to sit Colin Trevorrow down and explain to him that he fundamentally misunderstands how the Force works?

So all I can do is cross my fingers and hope James Mangold has a better grasp of - if not the lore (I wouldn't be surprised if the words "Je'daii" or "Tython" aren't uttered once in the film) - at least the message.

[fellhellion]

genuinely p4 fandom outside of tumblr makes u feel like ur living in an alternate reality. You say hey I think u can easily read trans subtext and text in Naoto’s story because the game quite literally talks about transition surgery, and people act like you’re the insane one.

[milfcamilanoceda]

"Haha if toh had been a lesser show written by worse writers it would be Lumity being ambigious and Huntlow being front and centre" You fools!! You are all thinking too kind, if toh had been a lesser show with way worse writers Eda would have ended up as a law abidding COP!!!

[filmnoirsbian]

I'm tired of terrible men here's some good horror movie husbands: Sang-Hwa from Train to Busan, Josh from Insidious, Gabe from Us, Steve from Poltergeist, Burt from Tremors, Lee from A Quiet Place, Adam from The Only Lovers Left Alive, Dewey from Scream (divorce notwithstanding), Red from Mandy, Adam from Beetlejuice, Eric from The Crow, and of course the king himself Gomez from The Addams Family. Honorable mentions to Hess from Ganja & Hess (they're complicated), Ryūji from Ringu (perhaps not a good husband but at least a good ex-husband and partner to investigate paranormal shenanigans with) and Lee from Bones and All (symbolically gay married)

[un-pearable]

as true as the jokes about “everyone wants to rewrite ninjago” are i feel like smthn people forget when complaining about the inconsistencies of the show is that…. it wasn’t planned? it’s not like most other animated shows lately - it didn’t start with a deeply fleshed out world or a meticulously designed pitch bible with grandiose plans for a long-term story or character arcs. the ninja don’t originally get their powers from heredity because they weren’t hereditary powers yet. the magic system doesn’t make sense bc they literally just made it up as they went! they go back and forth on stuff like whether non-elementals can learn spinjitzu bc it’s a collaborative piece of media made by people with vastly different levels of control over the story, the animation, the sets, etc. that varied over the course of the series. it’s totally understandable and exciting to see so many people reworking the early stuff with the lore and logic later seasons introduced but i personally feel that… if you’re doing that. you need to understand why the show is like that instead of writing it off as being bad and shitty. it was working with what it had. it’s only what it is now because of that awkward troubleshooting phase, not in spite of it