#The Little Mermaid 1968

[jestersketch]

Little Mermaid fanart based on the 1968 animated short

[fairytale-poll]

ROUND 1A, MATCH 8 OUT OF 8!

Propaganda Under the Cut:

Marina (Andersen Dowa: Ningyo-hime):

a very tragic adaptation of the original fairy tale. will make you cry

Marina (Saban's Adventures of the Little Mermaid):

Marina is actually friends / dating the prince and has a lot of her own agency. She pretty spunky and silly, has friends, and like more of a reason to want to be human than a lot of other mermaids I've seen.

The Little Mermaid (Soviet Animation):

It’s a s story with the ending left with two interpretations- one of the fish and one of the humans. I think it’s really creative and also just immensely beautiful.

She is tender and tragic. She danced for the prince, even though it hurt a lot. She actually loves her sisters. When the prince fell in love with another woman, she was given a way out by her sisters: she could kill the prince by causing a storm. But she refused and basically sacrificed herself, turning into sea foam, just like in the original. Her character design resembles a fairy, so she actually looks like a creature from another reality, not a human.

An absolutely gorgeous take on the original story. The visuals are just so utterly captivating and I love the way the little mermaid is voiced as well. Just so well done.

[katlimeart]

Mario girls cosplaying as female characters from The Little Mermaid (1968)

1 + 2. Mermaid Princess

3 + 4. Human Princess

5. Older Mermaid Princess

[idkwhatimdoinok]

Made a short edit of the 1968 adaptation of the Little Mermaid

[memoryaqua]

Gorgeous!

My fanart of the prince and the little mermaid from "Rusalochka-1968" (the Russian Little Mermaid)

[wendyius666]

Names i like - ASPEN

[darkcrowprincess]

My favorite characters that I relate to.

[talonabraxas]

The Archetypes and the Collective Unconscious (1968) Carl Jung

Why did primitive man go to such lengths to describe and interpret the happenings in the natural world, for example the rising and setting of the sun, the phases of the moon, the seasons? Carl Jung believed that the events of nature were not simply put into fairytales and myths as a way of explaining them physically. Rather, the outer world was used to make sense of the inner.

In our time, Jung noted, this rich well of symbols – art, religion, mythology – which for thousands of years helped people understand the mysteries of life, had been filled in and replaced by the science of psychology. What psychology lacked, ironically given its borrowing of the ancient Greek term, was an understanding of the psyche, or the self in its broadest terms.

For Jung, the goal of life was to see the 'individuation' of this self, a sort of uniting of a person's conscious and unconscious minds so that their original unique promise might be fulfilled. This larger conception of the self was also based on the idea that humans are expressions of a deeper layer of universal consciousness. To grasp the uniqueness of each person, paradoxically we had to go beyond the personal self to understand the workings of this deeper collective wisdom.

The collective unconscious

Jung admitted that the idea of the collective unconscious “belongs to the class of ideas that people at first find strange but soon come to possess and use as familiar conceptions.” He had to defend it against the charge of mysticism. Yet he also noted that the idea of the unconscious on its own was thought fanciful until Freud pointed to its existence, and it became part of our understanding of why people think and act the way as they do. Freud had assumed the unconscious to be a personal thing contained within an individual. Jung, on the other hand, saw the personal unconscious mind as sitting atop a much deeper universal layer of consciousness, the collective unconscious – the inherited part of the human psyche not developed from personal experience.

The collective unconscious was expressed through 'archetypes', universal thought-forms or mental images that influenced an individual's feelings and action. The experience of archetypes often paid little heed to tradition or cultural rules, which suggests that they are innate projections. A newborn baby is not a blank slate but comes wired ready to perceive certain archetypal patterns and symbols. This is why children fantasize so much, Jung believed: they have not experienced enough of reality to cancel out their mind's enjoyment of archetypal imagery.

Archetypes have been expressed as myths and fairytales, and at a personal level in dreams and visions. In mythology they are called 'motifs', in anthropology 'représentations collectives'. German ethnologist Adolf Bastian referred to them as 'elementary' or 'primordial' thoughts that he saw expressed again and again in the cultures of tribal and folk peoples. But they are not simply of anthropological interest; usually without knowing it, archetypes shape the relationships that matter in our lives.

Archetypes and complexes

Jung highlighted a number of archetypes, including the 'anima', the 'mother', the 'shadow', the 'child', the 'wise old man', the 'spirits' of fairytales, and the 'trickster' figure found in myths and history. We look at two below.

The Anima

Anima means soul with a female form. In mythology it is expressed as a siren, a mermaid, a wood-nymph, or any form which 'infatuates young men and sucks the life out of them'. In ancient times, the anima came represented either as a goddess or a witch – that is, aspects of the female which were out of men's control.

When a man 'projects' the feminine aspect within his psyche onto an actual woman, that woman takes on magnified importance. The archetype makes itself present in a man's life either by infatuation, idealization or fascination with women. The woman herself does not really justify these reactions, but acts as the target to which his anima is transferred. This is why the loss of a relationship can be so devastating to a man. It is the loss of a side of him that he has kept external.

Every time there is an extreme love or fantasy or entanglement, the anima is at work in both sexes. She does not care for an orderly life, but wants intensity of experience - life, in whatever form. The anima, like all archetypes, may come upon us like fate. She can enter our life either as something wonderful or as something terrible – either way her aim is to wake us up. To recognize the anima means throwing away our rational ideas of how life should be lived, and instead admitting, as Jung puts it, that “Life is crazy and meaningful at once”.

The anima is profoundly irrational – and yet she carries great wisdom. When she comes into your life it may seem like chaos, but it is only later that we are able to divine her purpose.

The Mother

The Mother archetype takes the form of personal mother, grandmother, stepmother, mother in law, nurse, governess. It can be fulfilled in figurative Mothers such as Mary Mother of God, Sophia, or the Mother who becomes a maiden again in the myth of Demeter and Kore. Other Mother symbols include the Church, country, the Earth, the woods, the sea, a garden, a ploughed field, a spring or well. The positive aspect of the archetype is Motherly love and warmth, so celebrated in art and poetry, which gives us our first identity in the world. Yet it can have negative meaning – the loving mother or the terrible mother or goddess of fate. Jung considered the Mother the most important archetype because it seemed to contain all else.

When there is an imbalance of the archetype in a person, we see the Mother 'complex'. In men, the complex may give rise to 'Don Juanism', which can make a man fixated on pleasing all women. Yet a man with a mother complex may also have a revolutionary spirit: tough, persevering, extremely ambitious.

In women, the complex can result in an exaggeration of the maternal instinct, with a woman living for her children, sacrificing her individuality. Her husband becomes just part of the furniture. Men may be initially attracted to women with a mother complex because they are the picture of femininity and innocence. Yet they are also screens onto which a man can project or externalize his anima, and he only later discovers the real woman he has married.

In other forms of the archetype, a woman will go to any lengths to not be like her biological mother. She may carve out a sphere of her own, for example becoming an intellectual to show up her mother's lack of education. A choice of marriage partner may be to antagonize and move away from the mother. Other women in the hold of the archetype may have an unconscious incestuous relationship with the biological father and jealousy of the mother. They may become interested in married men or having romantic adventures.

* * * *

Jung noted that in evolutionary terms the unconscious came well before the development conscious thought. Yet in its youthful enthusiasm the conscious mind feels it can defy or deny its deeper counterpart; it is all-powerful while the unconscious seems a murky irrelevance. Yet he believed that “Man's worst sin is unconsciousness”. We project everything we internally don't like or can't accept onto the world, so that we wage war instead of studying ourselves. It is a case of 'anything but self-knowledge' – but in the end we pay the price, whether as individuals or collectively.

Spiritual archetypes

Why is psychology as a science so young? Jung suggests it was because for most of human history it simply wasn't necessary. The wonderful imagery and mythology of religions was able to express the eternal archetypes perfectly. People feel a need to dwell upon ideas and images relating to rebirth and transformation, and religions supply these in abundance for every aspect of the psyche. The Catholic Church's strange ideas of the Virgin Birth and the Trinity are not fanciful images but packed with meaning, Jung wrote, archetypes of protection and healing that administered to any ruptures in the minds of the faithful.

The Protestant Reformation reacted against all this. The rich Catholic imagery and dogma became nothing but 'superstition', and in Jung's view this attitude made way for the barrenness of contemporary life. Genuine spirituality must engage both the unconscious and the conscious mind, the depths as well as the heights.

Jung observed the trend of people in the West flocking to Eastern spirituality, but felt this was hardly necessary given the depth of meaning embedded in the Christian tradition. Another result was that that people are attracted to political and social ideas that were “distinguished by their spiritual bleakness”.

Humans have a religious instinct, Jung believed, whether it is a belief in God or in some secular faith like communism or atheism. “No one can escape the prejudice of being human” he observed.

Individuation

'Individuation' was Jung's term for the point when a person is finally able to integrate the opposites within them - their conscious and unconscious minds. Individuation simply means to become what you always were in potentia, to fulfil your unique promise. The result is an individual in the real sense of the word, a whole and indestructible self that can no longer be hijacked by splintered aspects or complexes.

But this reintegration does not happen by thinking about it rationally. It is a journey with unexpected twists and turns. Many myths show how we need to follow a path that transcends reason in order to fulfill ourselves in life. Jung went to some length to define the self. He understood it to be something different from the ego; in fact the self incorporated the ego, “just as a large circle encloses a smaller one”. While the ego relates to the conscious mind, the self belongs to the personal and collective unconscious.

The healing mandala

Jung included in Archetypes and the Collective Unconscious many reproductions of mandalas, abstract patterned images whose name in Sanskrit means 'circle'. He believed that when a person draws or paints a mandala, unconscious leanings or wants are expressed in its patterns, symbols and shapes.

In his therapeutic practice, Jung found mandalas to have a 'magical' effect, reducing confusion in the psyche to order, and often affecting a person in ways that only became apparent later. They worked because the unconscious is allowed free reign; what has been swept under comes to the surface. Motifs such as egg shapes, a lotus flower, a star or sun, a snake, castles, cities, eyes, etc. are produced for no obvious reason, yet reflect or draw out processes that are going on deep below that person's conscious thinking. When a person became able to make a meaningful interpretation of the images, Jung observed that it was usually the beginning of psychological healing. It was one step taken in the individuation process.

Final comments

We think we are modern and civilized with all our technology and knowledge, but inside, Jung says, we are still 'primitives'. He once observed in Switzerland a Strudel, a local witch-doctor, remove a spell from a stable – in the shadow of a railway line on which several trans-European expresses roared by.

Modernity does not do away with the need for us to attend to our unconscious minds. If we do neglect this side of us, the archetypes simply look for new forms of expression, in the process derailing our carefully made plans. Usually the unconscious supports our conscious decisions, but when a gap appears the archetypes are expressed in strange and powerful ways; we can be ambushed by lack of self-knowledge.

The universe of ancient symbols we once used for deciphering life's changes and larger meaning has been replaced by a science – psychology - that was never designed to understand the soul and cater to it. Writing of the scientific mindset in general, Jung wrote: “Heaven has become for us the cosmic space of the physicists...But 'the heart glows,' and a secret unrest gnaws at the roots of our being.” Modern man or woman lives with a spiritual emptiness that was once easily filled by religion or mythology. Only a new type of psychology that actually recognized the depth of the psyche would be able to quell this secret unrest.

When it seems you are helpless in the face of problems, it should be remembered that this deeper mind carries the totality of human experience, a vast store of objective wisdom and perfect solutions. It only has to be recognized and accessed. The archetypal vortex. From the Journal of Borderland Research, Vol XLV. Super Quantum Speed in No Time

[gerbymoo]

Bruno Bucciarati and Leone Abbacchio

[rabemar]

Я нарисовала коллекцию Царевен Союзмультфильма по аналогии с Принцессами Диснея. Часть первая. В этом посте у меня Царевны из мультфильмов: I drew a collection of Soyuzmultfilm Princesses similar to the Disney Princesses. In this post (Part 1) I have Princesses from cartoons: «Бременские музыканты» 1969 и 1973 (The Bremen Town Musicians) «Летучий корабль» 1979 (The Flying Ship) «Василиса Микулишна» 1975 (Vasilisa Mikulishna) «Золушка» 1979 (Cinderella) «Русалочка» 1968 (The Little Mermaid) «Дюймовочка» 1964 (Thumbelina)

[sailermoon]

Русалочка - The Little Mermaid (1968) dir. Ivan Aksenchuk

[poolseason]

brain dump on amane yugi after tbhk 120

i'm just launching out everything that came to mind.

1. The Red House's Possession

Amane's life, regardless of the timeline, is depressing as all hell. But the main thing is, Yugi-sensei lived only to his late 20s, and died somewhere in the Red House. It's safe to say he was still a teacher at Kamome when he died, and maybe.. he was still a teacher at Kamome after he died. Let me explain,

It's kind of hard to get a good grasp on his character and his awareness of the supernatural considering he's POSSESSED and all, but to try to work it out

Theory A: Amane's not aware of the supernatural. This could explain how he seems to be totally clueless after the Red House entity's possession, and gives a reason for the prescription Aoi finds in 119. Amane isn't actually naturally inclined towards the supernatural, and gets medicated (either by himself or his parents) to somehow deal with the lost time or the childhood paranoia

Theory B: Amane has always been aware of the supernatural, and knowingly taps into the Red House's power to try and bring his brother back through the rumours spread throughout the school

Personally I'm leaning towards option A,,, Remember Kou's circumstances? He was possessed in chapter 116, and then unwittingly lured himself and Mitsuba to the well, after being sent by a "teacher" which could have been Amane's spirit. And we see that Hole/Entity/Red House tends to jump from host to host, mb depending on who's most likely to effectively bring in a new sacrifice. It takes back Kou in it's attempt at eating Nene, after momentarily losing momentum with Amane, but it didn't go Hole Mode right away.

All this to say that the Yugi-sensei in the flashback, and even Nene's time-shifting scene from ch115 is at least in someway under the control of the Red House Entity. Outside of that, man is just one dopey ass confused mf.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

2. break: what does Tsukasa have to do with all of this?

Tsu never returned from inside the Hole, but he's always had the power to in the original time

The Entity seems to be possessing him in the new timeline too. At least, it's holding a lot more influence on him. I don't think it's a stretch to assume that Tsukasa's always been bonded to it, since he was 3yo, just managed to hold more of his own sense of self in the old world because he left the pit and whatever the fuck happened to Amane in this world didn't happen in the other one.

Posessed Tsukasa has fully light eyes, while posessed Amane has fully darkened eyes (and also TENTACLES???? WHY?????). The reason why still stands to be contested, but maybe there's something involving the how the Entity is controlling them.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3. Jump to the past

Amane is regaining his memory of the other world. That much is obvious from the fact that Amane AND Kou both snapped out of control. Tentacle!Amane even broke down the door, giving them an out, and didn't even follow. Is Hanako's memories going to come through in the future chapters?

Also important to note that Nene's Mermaid scale curse is active (again? was it ever off?)

Akane's new plan is to use the Big Clock to rewind time, which means in the coming chapters or the next arc, our heros might travel to a time period where Yugi Amane will actually be alive.

The Clockkeepers created a divergence in 1968, the year Amane was working on the Big Clock, however we know that the earliest change in the timeline happened on Amane's 4th birthday around he discovered Tsukasa was missing and was told that the future was changed by a mysterious figure (a Clockkeeper? a future version of himself?? even one of our protagonists???)

a few things that are worth considering, now that we've thought a little about Yugi-sensei's knowledge of the supernatural and his current possessed status:

In the old timeline, and the new timeline, when did Amane first learn about the supernatural? Was he able to see spirits before he died? In the original world, He clearly didn't have a clue when he was 8, but by 1968, likely did, just a year before his death. Which has me wondering, if he didn't then he doesn't have a sixth sense, he's just close to death. Similar to Nene.

Maybe Amane's posession isn't exclusive to this new world... Does it have anything to do with his seal, or even the twin's deaths?

There's a lot of water theming here: A wishing well, a tentacled beast, a mermaid curse, a bathroom ghost. All boundaries are partially submerged. The supernatural in Kamome are direcly linked to water. Why's this all tied?

[fairytale-poll]

ROUND 3A, MATCH 2 OUT OF 2!

Propaganda Under the Cut:

Melody:

Her movie sucked but her character was literally SO good. I love her so much. Just look at her goooo

The daughter of Ariel, Melody begins the story as a literal fish out of water. Though she's half mermaid she is forbidden from being in the sea, and is kept from the knowledge of her origins. Though she believes herself to be human all she wants is to be in the water. -She sneaks out where she is forbidden to go -Her parent finds out and the have an argument -She runs away and gets a human/mermaid transformation with the help of a sea witch

It's like Ariel's story in reverse where she's not allowed to go to the sea so she makes a deal with Ursula's sister (that we didn't know existed lmao) to become a mermaid. I remember liking the movie as a kid.

i think she counts as a little mermaid in her own right. her story is a fantastic mirror of ariel's.

The Little Mermaid:

It’s a s story with the ending left with two interpretations- one of the fish and one of the humans. I think it’s really creative and also just immensely beautiful.

She is tender and tragic. She danced for the prince, even though it hurt a lot. She actually loves her sisters. When the prince fell in love with another woman, she was given a way out by her sisters: she could kill the prince by causing a storm. But she refused and basically sacrificed herself, turning into sea foam, just like in the original. Her character design resembles a fairy, so she actually looks like a creature from another reality, not a human.

An absolutely gorgeous take on the original story. The visuals are just so utterly captivating and I love the way the little mermaid is voiced as well. Just so well done.

[katlimeart]

Mario girls cosplaying as female characters from The World of Hans Christian Andersen/Andersen Monogatari (1968)

Thumbelina

The Little Mermaid

[mermaidenmystic]

人魚姫 (The Little Mermaid) ~ 1968 ~Junichi Nakahara (Japanese visual artist and printmaker, 1913-1988)

[sugasiren]

~ARIES~ The Queens of Romance 👑❤️👑

Aries Women are always the ultimate Leading Ladies in the most memorable Romantic Films. Have you ever noticed?! Especially in those with a classic or historical edge to them. And deeply whimsical ones that truly make you feel swept up in a Fairytale. ✨️ The examples are endless!

In most of these films, the female Protagonist knows how to challenge the man without losing her Feminine Essence. 🦋 She's authentic & stays true to her beliefs. Youthful yet mature. Lively, smart, adventurous & beautiful - she [Aries] easily captures the heart of her Knight In Shining Armor! 💪 And truly blossoms.

In addition to that, these women are often paired onscreen with Venus-Dominant Men who offer the perfect contrast to her Martian Energy. Venus + Mars together makes for a truly fiery & sensuously juicy romantic affair! ❤️ With much dignity still intact. It's also quite common to see these Aries Actresses matched with Plutonian Partners due to the loyalty factor & the deeply intoxicating intensity between them as Lovers. 🔥 And! the joint Mars-on-Mars Energy creates explosive passion for viewers to sop-up like a biscuit. So it all makes sense.

Pride & Prejudice (2005)

👑 Starring: Keira Knightley (Aries Sun)

👑 Partner: Matthew MacFayden (Libra Sun)

Dangerous Beauty (1998)

✨️ Starring: Catherine McCormack (Aries Sun)

✨️ Partner: Rufus Sewell (Scorpio Sun)

Romeo + Juliet (1996)

👑 Starring: Claire Danes (Aries Sun)

👑 Partner: Leonardo DiCaprio (Scorpio Sun)

Romeo & Juliet (1968)

✨️ Starring: Olivia Hussey (Aries Sun)

✨️ Partner: Leonard Whiting (Cancer Sun)

Bridgerton (Season 1)

👑 Starring: Phoebe Dynevor (Aries Sun)

👑 Partner: Regé-Jean Page (Taurus Sun)

Bridgerton (Season 2)

✨️ Starring: Simone Ashley (Aries Sun)

✨️ Partner: Jonathan Bailey (Taurus Sun)

Little Mermaid (2023)

👑 Starring: Halle Bailey (Aries Sun)

👑 Partner: Jonah Hauer-King (Gemini Sun)

Cinderella (2015)

✨️ Starring: Lily James (Aries Sun)

✨️ Partner: Richard Madden (Gemini Sun)

Maleficent/Sleeping Beauty (2014)

👑 Played by: Elle Fanning (Aries Sun)

👑 Partner: Brenton Thwaites (Leo Sun)

Sleeping Beauty (1959)

✨️ Voiced by: Mary Costa (Aries Sun)

✨️ Partner: Bill Shirley (Cancer Sun)

✨️💛✨️💛✨️

~HONORABLE MENTIONS~

Atonement 2007: Keira Knightley (Aries Sun), James McAvoy (Taurus Sun)

Emma 2020: Anya Taylor-Joy (Aries Sun), Johnny Flynn (Pisces Sun)

Little Women 2019: Saoirse Ronan & Emma Watson (Aries Suns), Timothée Chalamet (Capricorn Sun) & James Norton (Cancer Sun)

Sense & Sensibility 1995: Emma Thompson (Aries Sun), Hugh Grant (Virgo Sun)

Walk The Line 2005: Reese Witherspoon (Aries Sun), Joaquin Phoenix (Scorpio Sun)

Mr & Mrs Loving 1996: Lela Rochon (Aries Sun), Timothy Hutton (Leo Sun)

Beauty & Beast 2017: Emma Watson (Aries Sun), Dan Stevens (Libra Sun)

♈️❤️♈️❤️♈️

I hope you enjoyed the read! If this resonated with you please like, share and follow. ✨️