#mytheme

[postcard-from-the-past]

19th-century Château de Mytheme in Martigné-sur-Mayenne, Maine region of France

French vintage postcard

[magnusthemes]

Theme -  Lunar; [preview] [code] [magnusthemes] [buy me a coffee?]

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[cream-and-tea]

pallas’s story is about changing for the better and agnes’s story is about changing for the worse and fiver’s story is about thinking you’ve changed beyond recognition but really you haven’t at all and nina’s story is about all the potential you had to change being stolen from you and how can you possibly make something with what you have left and judge’s story is about trying to ignore how much you’ve changed until it’s staring you out in the face (you can go home but you can never really Go Home) and maxs story is about everyone acting like you’ve changed but really they just never knew you and calliopes story? well that’s just what happens when you’ve been dating the same girl since you were 13 idk what to say 🤷

[pippersmcgee]

you know how it is. you watch a few youtube videos and next thing you know you're trawling the four seasons site looking at luxury residence rentals and thinking i'd love for val to take vic to the maldives where she'll have the worst time of her life because 1) she's there with valentine, a creep who reeks of cigarettes and insists on ruining the vibes 24/7 and 2) she can't even go snorkeling with manta rays because of her STUPID ankle monitor. "i need a convoluted narrative to get off"-type post.

[frauggiethecreature]

Them!!! @wannabe-werecat

Screenshot redraw for requiem for a pizza!

[telltalebatman]

looking at a commission wip like

[rogerrcoyle]

shattered

[ratroomgames]

ELECTROBASIS is a 3d dialogue-driven game, sprinkled with platforming and puzzle quests. Meet a cast of heavenly hosts that come with a MYRIAD of issues, and help to fix (most of) them!

The casino yearns for a savior - she awaits a restoration.

Hundreds, if not THOUSANDS of years ago, a Biblical rapture fell upon the Earth, leading for angels to walk beside man, in effort to make humankind more holy living by example. Which, nowadays, isn’t all that sacred of a concept - angels are everywhere! THEY’ve integrated human characteristics into their own culture, rather than vice versa.

Made up of pure electricity, cherubs take up object heads to anthropomorphize their form. They own businesses, live in casinos, and are free to gamble their heart away. YOU, as a fallen angel, crashland SMACKdab in the center of a casino in Vegas - LITERALLY crashland. By playing this game you agree to clean-up duty*, fixing up the spark inside! Start with fixing up the casino herself by turning back on the power, and then expand into the happiness of the residents in the rooms upstairs.

INCLUDES:

A casino and hotel to explore!

Five different residents that have something wrong with them!

Exposition dump in text form for YOUR, yes your, eyeballs to scan over!

2010s dance party ending!

At least one rat

Music from famous musician REN! You know Ren, don’t you?

[ katabasis (n.)

a mytheme or trope in which the hero embarks on a journey to the underworld

any journey downwards or fall ]

*RatRoomGames cannot legally force players to improve the spark of the casino.

[elia-liendy]

Introduction to of my Crob OC

Before I begin to introduce her whit information about her, I want to share my process that lead to her redesign.

Recently I got back into Cookie Run Kingdom, following suit with Cookie Run Ovenbreak and my old hyper fixation on Timekeeper and Croissant Cookie.

Which made me dig old private post on my private Tik Tok and I was my old crob oc and seeing the video I decided to redesign it.

At first it was just for the sake of it, but soon I began to re-write her lore, and that followed suit with getting focused so much on the lore, that I began to want to actually post about it and share it. And now here I am posting on Tumblr, later than Tik Tok as I am less used to Tumblr.

So now, after this, I can begin to Introduce her to you:

The name is Khora cookie, she is a Cookie that suddenly appeared in Croissant Cookie words and whit she made her permanence in her life.

She is paired romantically with Croissant Cookie and consequently with Timekeeper Cookie too, but I plan to interact with all TBD Characters and develo interesting relationships between them, but personally I'm mostly interested in her relationship with Croissant, Timekeeper and String gummy Cookie.

The reason for making 4 character sheets of the same cookie are simply meaning her differences forms she takes:

The first one is the "Amnesia" form, which is connected to the fact that Khora Cookies deals with a terrible Memory loss, which also makes her forget her own identity.

The second one is her normal self.

The third one is her form when she uses her powers or when she is able to remember something connected to her.

And the last form is very close to her pet for a reason, because her pet is also herself at the same time as it's the pet.

Her names comes from Ancient Greek "χώρα" (Khôra, or Chora), this term means:

"the space that gives a place for being."

This term has been used on philosophies of Plato to describe a formless interval, similar to a place of "non-being"; A interval in between the where the intelligible realm that holds the "forms" gets "copied" into the sensible realm.

But what struck me the most, to rename her Khora was this quote of John Capito describing Khôra as:

"neither present nor absent, active or passive, the good nor evil, living nor nonliving - but rather atheological and nonhuman - khôra is not even a receptacle. Khôra has no meaning or essence, no identity to fall back upon. She/it receives all without becoming anything, which is why she/it can become the subject of neither a philosopheme nor mytheme. In short, the khôra is tout autre [fully other], very."

Describing Khôra as a "place that at times appears to be neither this or that and at times appears to be both this and that."

(this information is on Wikipedia)

The reasons why I chose this name are strictly connected to her lore, which at the moment I'm writing this is still under development and I prefer yet to disclose something that could ruin the enjoyment when I will post about the story.

Other than the fact it's just a pretty sounding name in my option.

Her precedent name was "Kairos" which is also a term from Ancient Greek, but it means "time", more precisely "the right/critical moment."

Her Clothes and Hair are inspired by Art Neavou Building and arts iconic style, but still taking a lot of creative action by making the clothes more modern looking that the fashion of Art Neavou time period and the steam punk look of the TDB, as I wanted her to clash with the characters design.

The reason for her blue colours is just to homage the original design, in fact the eye and hair colour were swapped.

As for the magenta on the dress is because scientifically Magenta is a colour that doesn't exist which is just a light connection with the meaning of her name.

Well if you reached to read this, I wanna thank your attention and I hope I did catch your interest.

Have a nice day/night.

___________________________________

There is also a video on tik tok (press here if you want it to see), but honestly it has a lot less information than this post, just because I didn't want to overwhelm the video with information, since tik Tok is a short content social media.

Depending on how I want, I will see if the type of content is more suited for Tumblr or Tik Tok, but regardless I plan to post content on both, be repost or singular social media.

[mister-ancunin]

gonna change mytheme to toru again. ina bit.

[inspofromancientworld]

The Science of Discovering the Past: Mythography

By Francesco Hayez - The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202., Public Domain, https://commons.wikimedia.org/w/index.php?curid=152601

Myths are the stories that are past down in civilizations that play a fundamental role in their societies. They can be religious or secular in nature. A secular myth can be one that tells of the origin of a group of people or a nation while a religious myth could be one that tells of the origin of the world and may overlap with a national origin myth.

By Lorenz Frølich, Public Domain, https://commons.wikimedia.org/w/index.php?curid=32694681

Mythography and comparative mythology are ways of studying myths. Mythography is the systemic study of myths that seeks to uncover origins and hidden meanings under the surface of myths, seeking to understand where they began and how they spread through the world. It seeks to understand the reasoning underlying various motifs, or mythemems, within various myths and how they changed between cultures. It can be traced back to Palaephatus, a Greek mythographer who lived sometime during the late 4th century BCE, and his work On Incredible Things, or On Unbelievable Stories, depending on the translator. He wrote about myths and then posited on the origins of them. One example of his work is '[t]he story about Callisto that is while she was out hunting, she turned into a bear…that she too during a hunt found her way into a grove of trees where a bear happened to be and was devoured. Her hunting companions saw her going into the grove, but not coming out; they said that the girl turned into a bear'. While his theories are considered to be ad hoc, he also didn't mention the gods. In Calisto's story, it's traditionally held that Artemis turned her into a bear for her unfaithfulness as her priestess.

By Gustave Doré - w:en:Image:Destruction of Leviathan.png, Public Domain, https://commons.wikimedia.org/w/index.php?curid=283522

Comparative mythology is a closely related field that studies myths from various specialties. These include linguistics, religious studies, history, and literature. The linguistic branch studies how words, such as the names of the gods, are related. Claude Lévi-Strauss, a Belgian-born French anthropologist held that myths helped mediate between oppositions, such as the tension between 'nature' and 'culture'. Psychoanalysts also study myths for their deeper psychological meanings, such as Jungians who view myths as archetypes, or unconscious universal patterns that all humans have within them.

By Gustave Doré / Adam Cuerden - The Holy Bible: Containing the Old and New Testiments, According to the Authorised Version. With Illusrations by Gustave Doré. (Cassell / Company, Limited: London, Paris & Melbourne), Public Domain, https://commons.wikimedia.org/w/index.php?curid=5461557

Modern mythography combines comparative mythology with the study of human migration through genetic studies, seeking to trace motifs through these movements. Part of the rational behind studying myths is the hypothesis that myths hold a place in their cultures that mean that they'd be transmitted faithfully through generations, thus the motifs, or mythemes (a word coined to relate these motifs to linguistics with linguistics and phonemes, sounds that make up a word).

[mestieredellearmi]

Creatio ex corpore

The proposition that the cosmos is fashioned from the dismembered body of a primordial being, a phenomenon known as creatio ex corpore, is a potent and recurrent mytheme in global traditions. Yet, the nature of this primordial violence is far from being defined by a universal formula. An examination of four prominent examples reveals not a single, universal pattern, but rather a spectrum of creative acts, each establishing a distinct cosmological logic. By analysing the accounts of Tiamat in Sumero-Akkadian myth, the Norse Ymir, the Vedic Purusha, and Tlaltecutli for the Aztecs, we can delineate a typology of this foundational violence. This analysis must also, however, engage with influential anthropological frameworks, most notably that of René Girard, to situate the critique and understand both the power and the limitations of a unified theory of sacred violence.

The myths in question can be classified into three distinct models based on the nature and consequence of the founding act.

The first and most common modality is the Theomachic Model, or Chaoskampf, a divine battle wherein order is established through the subjugation of a primordial entity. The Babylonian epic Enūma Eliš stands as the archetype. Tiamat, the undifferentiated saltwater sea, is provoked into a maternal rage only after the murder of her consort. Her defeat at the hands of the ascendant god Marduk is a celebrated military triumph, not a concealed crime. The systematic creation from her carcass is a hierarchical imposition, with humanity's creation from the blood of her traitorous general, Kingu, cementing a permanent obligation to serve the victorious gods. A similar logic underpins the Norse cosmogony. The slaying of the giant Ymir by Odin and his brothers is the necessary defeat of an antecedent and rival order, the jötnar, to make the world habitable. The act establishes a cosmos defined by an enduring cosmic conflict, a worldview predicated on the initial victory of the Æsir.

In stark contrast stands the Sacrificial-Ritual Model, exemplified by the Vedic hymn of Purusha. The Puruṣasūkta (��gveda 10.90) does not narrate a conflict. Purusha, the cosmic being who is the totality of existence, is the willing offering in the first great yajña (sacrifice). The hymn presents a serene, liturgical dismemberment that is generative, not subjugating, providing the divine blueprint for the cosmos, the sacred chants, and the four social varṇas. The violence is wholly sublimated into ritual order; the act is not a past war to be remembered but a sacred procedure to be perpetually re-enacted.

Finally, the Aztec account suggests a Debt-Accrual Model. When the gods tear the earth monster Tlaltecutli apart to form the sky and land, the act is a cosmic injury. The world is created, but it is wounded. This initial violence establishes a cosmos predicated on a permanent and cyclical debt, where the earth’s continued fecundity is contingent upon ritual nourishment with human hearts and blood. It fuses the martial violence of the theomachy with the procedural necessity of sacrifice, creating a cosmology of perpetual appeasement.

It is here that one must address the influential theory of René Girard, who argued that myths are typically mystified accounts of a foundational, collective murder. For Girard, societies resolve their internal mimetic crises by uniting against a single scapegoat, whose subsequent slaying brings peace. This founding violence is then transfigured into the sacred, with the victim often deified whilst the violence itself is concealed.

Girard’s framework is a powerful heuristic for understanding the deep connection between violence and the sacred. Yet, its application to these myths reveals its limitations, a point of critique so frequently rehearsed as to have become a standard exercise in mythological studies, precisely because it highlights the tension between universal theories and textual specificity. In the case of the theomachy, the violence against Tiamat or Ymir is not concealed. It is the central, celebrated claim to legitimacy for the victorious gods. The cult of Marduk is an explicit celebration of his victory, not a sublimated memory of a forgotten crime.

The model sits most uneasily with the Puruṣasūkta. The dismemberment of Purusha lacks any of the core Girardian elements: there is no mimetic crisis, no spontaneous mob action, and no subsequent mystification. The act is presented as a deliberate, orderly, and transparently programmatic ritual, not a frenzied murder. To frame this as a concealed scapegoating is to ignore the hymn's explicit liturgical and philosophical content.

This critique does not invalidate Girard’s profound insights into human social dynamics. Rather, it suggests his theory is one of sacred anthropology, not a universal key to all mythologies. It exposes the human tendency to found community in violence, but it does not fully account for cosmogonic narratives that operate on a different symbolic register. The distinction Girard himself makes between concealing 'myths' and the 'unveiling' of the victim's innocence in the Gospels demonstrates his own cognisance of differing narrative postures toward violence. The foundational rupture, whether a battle, a sacrifice, or an injury — establishes the world, and in doing so it becomes the biological fire of the created order, an original act whose logic continues to define that world's fundamental principles.

[magnusthemes]

Theme -  Allfire; [preview] [code] [magnusthemes] [buy me a coffee?]

A compact, versatile and responsive header theme.

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[wyllzel]

🤕 i'm literally going to sound so insanely pretentious (genuinely i am very sorry for this paragraph) but as someone who has studied and done academic research on orphic mythemes (ie. the o/rpheus & e/urydice myth) (in university for an english class literally about orphic mythemes lol) 🤓☝️ i tweak out every time i see smth that's like "o/rpheus loved e/urydice so much which is why he turned around 🥺🫶" bc my personal favored reading is that of o/rpheus as an egotistical artist who succumbed to a moment of furor (overwhelming emotion) with a net result of bolstering his own reputation/legacy at the cost of his wife's life 😃👍 but maybe i am just a pessimist lol

like idk. it's a nice tragic romance story but i rly do believe it's so much more??? i feel like a lot of common current interpretations also remove the necessary role of music/art/"the great artist"... as well as other mythemes like the Gaze, the Border/Boundary, the Self and the Double, the Catabasis and the significance of o/rpheus being one of the few to succeed in it...

also ovid isn't "canon," there's no such thing as "canon" when it comes to oral tradition imo. there are just common story elements + mythemes... but that's just my current take lol i don't rly have any citations for that one

but i do acknowledge that there are many different readings you can take on the story bc there are many ways to tell and interpret the story, bc that's how oral traditions work, and rly as long as u feel able to argue smth w textual backing it rly is a valid argument :'-)

just personally i am tweaking lol 😭

anyway i like these orphic texts:

black orpheus dir. by marcel camus (1959)

eurydice by sarah ruhl (2003)

orphée dir. by jean cocteau (1950)

vertigo dir. by alfred hitchcock (1958)

the end 😭 sorry 😭

[pippersmcgee]

finished the last housewife. the blurb calls it a "pitch-black thriller", but i thought it did pull its punches pretty consistently. it felt like a surface-level exploration of all the dark themes it promised to explore thoroughly. though i do think there were some salient statements from our heroine as she struggled with her attraction/repulsion to the man who abused her. but the author pulled their punches in that department, too. this ended up being a really long post..........

-i think the most glaring problem was the fact of don being a completely flat character whose only purpose was to be "the bad guy". when we lose sight of the fact that abusers are people who experience a range of emotions just like us, we lose a point of tension. because don was an over-the-top villain for the entire story, shay didn't really have to waffle on whether to kill him at the end, and we didn't have a chance to really understand what had made him so appealing to her younger self. don's crap characterization also did laurel dirty -- her devotion to him made her seem equally low-stakes and silly. if they're both going to struggle with these dark, complicated feelings, there needs to be something for us readers to struggle with as well, like our discomfort with the idea that an abused person might love their abuser, or the idea that an abuser is a person with feelings at all.

-tiny little innocent baby bunny pathetic weak teeny weeny little blond laurel! so small and so shy... the author must have thought it was necessary to emphasize these facts over and over so we would never suspect anyone beautiful of wrongdoing... except for the fact that don was extremely handsome ken doll................... shay also remarks later that she wonders why a handsome guy is at the creep society party -- "as if being attractive disqualified him from hurting women" -- why would she think this?????????????????

-if a guy's at the creep society party and he's not don, he's probably described as fat. you know, because gross fat old men?! you all know how much this pisses me off.

-our heroine receives an unbelievable amount of lenience while she's infiltrating these secret society sex parties. she flees the scene three, four times with no real hint that something bad will happen to her for having witnessed something she shouldn't have. she just climbs out of a window or walks down the stairs. bye! guess it's not a big deal?

-wife/daughter/prey metaphors mixed in carelessly contribute to the cartoonishly villainous vibes. i think this might be a very personal opinion but i think any "we're the prey ... they're WOLVES!" talk is extremely cringe and detracts from the fact that abusers are human, too. THAT'S WHY THEY'RE SCARY!

-shay's beauty queen status & good looks hampered the story, imo. none of this is about how beautiful you are. i don't want to get into it because there's nothing wrong with it as a plot point. it just annoyed me.

-shay was BRANDED and seems to forget about it in a few pages. she's fine?! ??????????????????

great speech from laurel that the author has no real interest in entertaining. her feelings are downplayed immediately and often. seems that it's ok for shay to feel conflicted over her sexual feelings, but anything other than that is patently ridiculous.

#MyThemes...

this was a nice moment where the author hit on something vital -- after you've been noticed by an adult man, men your own age do seem crappy and stinky. don's knowledge of that feeling is the closest he came to having a personality beyond "bad". i would have liked this moment better had don been a better character.

sounds fun. you can leave out the weird paternalistic greek bullshit though...................

-my most unfair and irrelevant point is that they dropped the surrogate father/daughter thing early on in favor of the housewife thing. WHY ISNT YOUR STORY 100% APPLICABLE TO #MYTHEMES?????? i get that this is a me problem.

[avi--arts]

5.21.25

my them #mythem

avi and lee as freya and odin