#Theology of Theater

[garthnadermemestash]

defund trump

[gods-jester]

Hi. I should probably introduce myself 👋

I’m Bee, or Kate, either one is fine by me.

I’m 21 here in a few days (minors DNI) and I’ve had this blog for over two years, but I haven’t ever thought to establish myself lol.

Lets begin with the basics:

I’m an art history, law, and classics student. i also have a minor in creative writing (which i need to do more of)

I am also an artist, brass musician, and theater director/techie/intern

I live in Italy, but i’m originally from the US

I’m disabled and autistic (don’t worry the special interest section comes later)

I’m tragically the chaotic bisexual stereotype

More below 👇

Welcome to the Chaos Zone

As promised, the special interest list (alphabetic lol)-

art history- modern and contemporary; preraphealites, impressionism, soviet and post soviet art, biennale exhibitions etc. and ancient; greek, roman, etruscan, and far eastern

Billy Joel

classical studies

conservation

Dimension 20

dungeons and dragons (and other TTRPGs)

firewatch

five nights at freddy’s

fran bow

gothic lit

Hamlet (and no other shakespeare)

horror movies

jacksepticeye

linguistics/foreign language study

markiplier

minecraft

musicals- Phantom of the Opera - Jekyll and Hyde (1996 ✊✊) - Hairspray - Ferngully: the Last Rainforest

the New York Mets baby

Panic! at the Disco (i know i’m sorry)

Percy Jackson

the Princess Bride

radium. and all other radioactive things

theater directing

theology

i’ll have tags for different things but that’ll be a running/incomplete list;

Target Languages

Italian

French

Spanish

Russian

Mandarin

Arabic

Korean

Yea, I am disabled; and yes, we can talk about it.

I am autistic (if that wasn’t already evident)

but i also have a neurological condition that impacts all aspects of my life- and i’m open to talking about it for curiosities or anyone going through something similar. i’ll be your disabled big sister to guide you. *pat pat*

Anyhow I think that’s all the major points hit.

Let’s be friends?

[dreamy-conceit]

As the Bacchae knew, we always tear our gods to bits, and eat the bits we like.

— Adam Gopnik, 'What Did Jesus Do?', The New Yorker, 24 May 2010

[wifelinkmtg]

This was intended to be an essay about chivalry—its history, its uses, its various incarnations—medieval violence, the Romantic reinterpretation, the ideal of chivalry in the American South and its attendant lynch mobs. I would have talked about the chivalric triad: Knight, Innocent, Enemy—the way the Innocent serves as a fulcrum for the Knight to enact violence against the Enemy—the iterations of this triad in any number of places in our society, from the so-called sheepdog mentality trained into our police to the legion of revenge-fantasy Taken clones. I would have talked about the way Kierkegaard in Fear and Trembling incorporates chivalry with the sacrifice of Isaac, the theology of self-justified suffering that comes from that. I would have talked at some length about various portrayals of lesbian chivalry in media—Revolutionary Girl Utena, the Locked Tomb books, Signalis—how they use it, what they say about it, and whether at the end there is anything worth salvaging from this intrinsically violent way of relating to the world, to others, to oneself, to God.

I think a version of that essay might still be worth writing someday, but right now, there's something I need to talk about much more urgently. Right now, there's something I suspect you might desperately need to hear. Today I'm going to talk about Godzilla.

GODZILLA SAVED MY LIFE: A Polemic

Godzilla Minus One (2024) takes place in Japan in the immediate aftermath of the Second World War. Its protagonist, Koichi, is a failed kamikaze pilot who in the opening scenes is repeatedly excoriated for his cowardice and dereliction of duty. When he returns home to a bombed and desolate Tokyo, his bereaved neighbor tells him, if people like you had done their duty, this would not have happened. The film spends the rest of its runtime doggedly refuting this idea. It says, out loud, that the relentless calculus of sacrifice that turns men into things to be spent has no place in this world, that it is needless and cruel. It is not subtle about this point. It is not trying to be.

I saw this movie in its black and white version in theaters in February, on the last day of its run. Its version of Godzilla inspires in me both terror and near-religious awe. It looms over the film, an echo both of the devastation of the war and of Koichi's guilt and shame, its presence inviting—demanding—the final consummation of the mission he abandoned.

I wept in that theater. I gripped my friend's hand and I sobbed. This is unlike me (unless I'm watching Gunbuster), and it took four days for me to work out why this Godzilla movie had affected me so profoundly.

arkansas kamikaze

and she looked, and behold! a beast rose from the sea, and against the beast he breathed glory in a Zero dive. his beatified smile shone from the wreck of the Little Rock Planned Parenthood clinic. and a great wind blew out of heaven, and she woke

and made breakfast, and watched her son wholly absorbed in Bonhoeffer, found her lipstick worn down to the nub for practice stigmata, and saw for a moment the dove descending, the tongue of fire over his head.

The thing about being raised in a right-wing fundamentalist family is that you are from birth being prepared to be a weapon, or a martyr, and there is really no difference between those two things. If my mother had had her way, I would have gone to a tiny far-right college and studied law for the sole and explicit purpose of getting Roe v. Wade overturned. She would, I believe, have settled for me bombing an abortion clinic. Certainly it would have been easier for her to reconcile with that than with what I became instead.

The other thing about being raised in a right-wing fundamentalist family is, some things stick. And it's very hard to notice, as your beliefs and values and identity undergo radical changes, that there is still a whisper in you that believes in the power of the glorious death, of the ultimate virtue of strapping explosives to your chest and walking into the halls of the Enemy. And when you feel helpless, when you watch systems and institutions that ought to prevent atrocities instead encourage them, that whisper grows louder and louder and louder.

Watching Koichi fly his last mission, watching him an instant before impact eject, and live—watching everyone live through the final confrontation because they had all rejected the calculus of sacrifice—allowed me to see also for the very first time this parasitic idea that had grown coiled inside me since infancy, allowed me to see where it had come from, its whole monstrous lineage, and then it allowed me to take hold of it and pull it out.

Twenty days later, Aaron Bushnell set himself on fire outside the Israeli embassy in Washington, DC, in protest of the still-ongoing genocide of the Palestinian people. He was, like me, raised in a right-wing fundamentalist environment. He was, like one of my siblings, a member of the US Armed Forces radicalized by his experiences and his own conscience. People called him a hero and martyr—on this very site, in responses to the excellent Crimethinc piece circulating at the time, I saw people saying they felt like they should follow suit (even though the article in question explicitly and repeatedly warned against it!) As if the loss of a person of conscience and conviction could be anything other than a tragedy, as if anyone in power choosing to support the genocide could regard the death of one of their own soldiers as anything other than what soldiers are for, as if the moral response to a genocide could ever be to add another corpse to the mountain—and still I saw people lionizing him, praising his courage and his sacrifice, all but telling people to follow in his footsteps.

No. Aaron Bushnell was a suicide. He lived his whole life within organizations that taught him that he could purchase more with his death than he could ever accomplish with his life, and while we may praise his conscience, we can only mourn his loss and the grievous error that led him to it.

This is the thing about learning to see this parasite: you begin to see it everywhere. Our history for millennia is awash with human sacrifice: Abraham and Isaac, Jephthah and his nameless daughter, Agamemnon and Iphigenia, the crucifixion of Jesus—and later, litanies, row upon row of dead saints, stories of glorious last stands. The courageous martyred dead: blood and corpses, only and always, to Moloch.

In light of the recent US election, perhaps many of my American readers are feeling shock or horror or despair. I understand, and without blame, with love and gentleness, I tell you that this is because you have not correctly understood the scope of the problem. You imagine a discontinuity between the liberal version of American capitalism and imperialism and the fascist version of the same. No such discontinuity exists. Things will no doubt be different for us here in the US than they would otherwise be, and probably worse, but there is no distinction to be made between the genocide of yesterday and the genocide of tomorrow. The enemy is the same. The work is the same.

Above all else, this is to warn you: when you do this work, when you look for a place you can put your shoulder to the wheel, there will be people who want to spend their lives—or yours—like coin to purchase some great change immediately. Perhaps they mean well, and helplessness and desperation drives them to act without regard for the consequences. Perhaps they do not mean well. Do not follow these people. Perhaps they merely expect you to go to prison, and have no plan for how to support you after that. This is barely different. It is far better for you to languish in useless liberal nonprofits which will accomplish nothing of value than to attempt radical direct action with people with correct politics and no forethought, and end up dead or imprisoned—but these are not the only two options. Aaron Bushnell cannot ever again do anything for anyone. You can.

This is as much as I know for certain. I love you. Don't die.

-------

End Notes

It would not be unreasonable to ask me, in light of what I've said here about martyrdom, what I think of it in other cultural contexts, especially since a similar word is often used to refer to e.g. Palestinian people murdered by Israeli soldiers. The answer is nothing at all. Such people get to use whatever words they want to salvage whatever meaning and comfort they can.

Godzilla Minus One, as effective a movie as it is, was not solely responsible for the scales falling from my eyes. It was an important part of the process, but I doubt it would have sufficed on its own were I not in community with people I trust and talk to about such things. "Godzilla and also my trusted friends saved my life" is, alas, a worse title.

There will be a part two to this. Part one seemed more urgent.

[mask131]

While checking around for my “Roman gods are not Greek gods” posts, I found back this tripartition of mythology, which is actually a fact that everybody should kno about if they want to dabble in Greco-Roman myths (especially Greek myths).

We know that, during Antiquity, the Romans and the Greeks thought that there wasn’t just one, but three different types of “theology” - three different views, perceptions and reception of the gods.

The first theology was the theology of the priests and of the state - aka, religion. The Greek gods as perceived and described by religion, as honored through rituals and festivals.

The second theology is the “mythic theology” - what we call “mythology today”. It is a set of legends, folktales and stories that are not part of religion, but rather used and carried by art - it is the gods are seen, perceived and described by the poets, by the epics, by the theater plays.

The third theology is the theology of the philosophers - who used the gods and their tales as images and allegories for various abstract or concrete topics. It is the gods as depictions and description of natural phenomenon, or the myths as a way to actualy exemplify a social fact or explain psychological workings. 

For the classic Greeks and Romans, there was a clear divide between those three very different point of view of the gods. It was basically three different versions of the pantheon. This is notably why you will find texts noting that priests disliked and condemned the poets’ mythological works, due to them being blasphemous and making the gods too human when religion described them as perfect ; and it is also why the philosophers of old dissed on and rejected the literary works of mythology as nonsense only good to feed superstitions, because for them the gods weren’t characters or realities, but rather abstract concepts and rhetorical allegories.

This is something I feel needs to be reminded, because today these three different theologies have been mixed up into one big mess - as literary myths are placed one the same level as philosophical “myths” (actually texts taking the shape of myths), and both considered of outmost religious importance. When in fact, things were quite different... 

EDIT: I was asked if there was a myth that could illustrate the three different theologies, and on the spot I would say “the affair between Aphrodite and Ares”.

This story originates from the “mythological theology”. It is primarily a story, and a good one. It is the story of a husband who discovers his wife is unfaithful and tries to get revenge, it is the story of an extra-marital affair gone wrong, it is typical set of divine shenanigans ending on a grotesque display of divine humiliation - it is an excellent narrative material for plays and poems (and the legend does originates from poems).

The story was also dearly beloved and reused by the “philosophical theology”, because the philosophers adored the idea of the love between Ares and Aphrodite - for them it was the perfect depiction of how the concepts of “love” and “war” , despite being seemingly opposite, attracted each other and were closely tied. For them, this story isn’t to be taken literaly as “a god cheated on another god”, but rather as “this is an allegory showing that love and war are two sides of the same coin, which is why Aphrodite falls for Ares despite being married to Hephaistos”. But for them the whole net part is just poetic nonsense invented to make people laugh ; or maybe they will reinvent them as a moral, cautionary tale that should be used to warn people of the dangers of unfaithfulness. 

And then there’s the “religious theology”, the point of view of the priests - for whom such a story is mockery and sacrilege. You can imagine them saying: “You are making the gods look like fools! Gods don’t cheat on each other, gods don’t get captured in nets while butt-naked, gods don’t even sleep on beds - GODS DO NOT EVEN HAVE HUMAN FORMS IN THEIR NATURAL STATE - what the heck is this bullshit you’re saying, you’re just insulting the gods by turning them into lecherous humans and grotesque clowns for your vulgar story!” (This is a reconstitution and not the actual words of an Ancient Greek priest)

[valkyriexo]

Send this to a stay! Have them describe themselves and see who their followers would “Ship” them with in the group! <3 (no pressure baby)

hiiiiiiii <3 heres a little about me :

I call my self Val.

I'm 24 years old (born in 2000)

She/Her

5'0"

I love animals (and at one point almost became a vet)

My favorite colors are rose gold and black

I am Dominican, but I live in the United States

I speak English, Spanish, A little Italian, and very little Korean (I'm learning, but I need people to practice with)

I'm a professional dancer and Theater, film/TV Actress I have a degree in acting and theology. ( and a diploma in manufacturing )

I love directing and all things writing, film, and TV

I'm a Entj-a

I like playing sports and ive played soccer, track and field, and cheer

I'm a hugeeeeee gamer! I mostly play on pc but I also play on ps4, wii, ds, and vr My most played games are Overwatch, Stardew, Spiderman, and GTAV In the same vein I also have a growing board game collection with 72 games (currently) and I recently opened a board game club with 15+ members

... and thats a little about me :)

tagging my moots because I'm making this into one of those tumblr games... no pressure tho :)

@kirbyscreeper @intrikatie @escapetheshark @2mins-world @miueo

@misadrawss @bodybahng @torialefay @calypsohan @linoalwaysknows

@stayinlimbo @xxkhxndlelitexx @dandelions-143 @ssickmagnolia8 @seungminindabuilding

@httpdwaekki @lookitsjess @neverendingstay @seungfl0wer @gnabnahc143

@hwangism143 @linoyes @cutieleeknow @miss-daisy04 @kisskissbanggang

@palindrome969 @rylea08 @beautyandmentalbreakdown @boyfiechan @dwaekkicidal

@leeknowsallyoursecrets

[serpentface]

i'd love to hear more about the akoshos! i'm sure they'v been brought up more than twice, but tumblr's search function is the enemy of knowledge :')

Yeah so the akoshos gender role is a long standing practice in the Wardi cultural sphere that has ancient roots, existing in both Wardi and Wogan spheres (I'll mostly be talking about the modern Wardi context here). Its ancient precedents were varied and often broader in description, often encompassing people designated male who present and live as women and/or engage in sexual/romantic relationships with men (and usually involving additional cultural roles beyond just being an Identity).

In the modern context, it is a gendered space where someone designated male at birth performs expected presentation and social roles of women. In terms of Wardi convention, this usually involves braiding the hair, wearing veils while outdoors, longer robes or skirts, wearing non-unisex jewelry, and behaving under the myriad of feminine social conventions. Most akoshos experience strong social pressure to shave any facial hair (and will often be seen as 'overmasculinized' if not).

Akoshos will be referred to with the ‘she’ pronoun and other feminine gendered language articles and titles (with the exception of being called an 'akoshos-husband' if married to a woman).

Being akoshos is regarded as being dual-gendered- having a 'male’ body capable of penetrative roles while otherwise socially performing ‘female’ roles. This is ultimately conceptualized as being physically male and spiritually female (quite literally in the sense of having a female soul incarnate into a 'male' body). They are considered a polar opposite to eunuchs, who are regarded as de-gendered and neither male nor female. Their role is not regarded as a personal choice but to be an aspect of their nature.

This role has some religious connotations, being seen as an imperfect human approximation of God's dual-sexed nature, and a few specific rites and minor priesthoods are exclusive to akoshos. (In deep theology they are imagined as metaphors of the living body of God before the initiation of the death-rebirth cycle, lifting the foundation of the world and inseminating the seas to create humans, while eunuchs can represent the dead body of God in sacrifice and the initiation of the death-rebirth cycle, being severed and divided to grant the world life and form) (This is not going to be a common line of thought for the everyday person though).

The actual word ‘akoshos’ stems from a role in traditional all-male Wardi theater, for actors who specialize in female roles (with no connotations on their gender/presentation in daily life). The occupying forces of the 2nd Burri empire took this performance-specific word and used it as a catchall for dual-gendered members of Wardi and Wogan peoples, with this (in addition to separate Wardi tribes gradually assimilating/being assimilated into an indistinguished nationality) eventually resulting in the linguistic loss or obsolescence of most pre-existing titles in favor of 'akoshos'.

While they are accepted as a specific gendered space (seen as a normal part of the cultural framework, rather than ‘failed’ men or otherwise deviant), they are subject to stigma and disempowerment as a non-male gender in a patriarchal sphere. They are grouped with women in terms of class status and are similarly denied certain legal rights (sole property ownership, self-representation in court, subordinate statuses to husbands in inheritance, legal independence from a familial patriarch, etc).

It is, like most other gender roles here, a fairly rigid gendered space that one can ‘fail’ at or shamefully deviate from. The fact that akoshos are so accepted as part of society is part of what makes this role equally rigid to manhood or womanhood. An akoshos is expected to perform female roles and presentation consistently and as culturally required, and strong deviation from female gender roles (with exceptions for some sexual roles) is treated with much the same disdain as for men and women 'failing' at their own gender.

People generally do not Want their perceived sons to turn out as akoshos, and will often find it an unfortunate lot that a female soul has incarnated into their child's male body. The framework of society heavily revolves around the fundamental importance of the family, preserving and propagating one's family and honoring their name. Children are, in many ways, functionally assets, with their marriage securing a family's future and further descendants, and the success and stability of one's adult child (typically only attainable in marriage) allows for parents to be cared for in old age and to receive necessary and proper rites. Akoshos, in many ways, cannot fully support this framework. They cannot perform expected patriarchal roles of sons as primary heirs, inheritors, and and carriers of the family name and legacy, nor can they function as daughters to be given in marriage, being incapable of pregnancy.

As such, many akoshos lose direct support from their families and on average tend to occupy disenfranchised societal roles. (This is NOT universal though, you’ll find plenty of families that continue to fully support their akoshos children throughout life). Akoshos living in cities often develop microcommunities with themselves and other notably disenfranchised women (often sex workers) as means of self-support.

Akoshos can take on certain jobs ostensibly exclusive (or predominant to) women, including some esteemed fields. Many find work as midwives, and are allowed into certain all-female priesthoods (particularly as physician-priestesses), though they are not accepted as Odonii. A couple of Usoma-Hittibe (the unmarried eldest sister to a king or emperor, outranking a queen or empress) known in history have been akoshos.

While akoshos are not '''useful''' assets in marriage (which is usually arranged, and in many ways a political or financial agreement), they are unique in that they Can legally and officially be wed to both men and women (and will be referred to as an akoshos-wife or akoshos-husband, depending on the gender assignment of their partner). Marriage is otherwise exclusively between men and women, the concept of it existing in other capacities is regarded as an absurdity, given its predominantly reproductive role.

An akoshos taking on a 'husband' role to a woman is not ideal in a practical arranged marriage (especially as, in having a woman's denial of many legal rights, they may find it difficult to perform a husband's role of supporting a family), but these arrangements are biologically capable of producing children, which is of some benefit. Akoshos-wives are less common, as these unions cannot produce a pregnancy and thus cannot fulfill the reproductive role that marriage largely exists to facilitate. But unlike an akoshos-husband, an akoshos-wife is fully capable of performing all Other roles expected of a wife. Men will sometimes remarry akoshos after they have already acquired children through a previous marriage, at which point the akoshos-wife can fully inhabit the expected non-reproductive roles of a wife and mother.

Akoshos also have a significantly larger degree of sexual freedom in comparison to those designated women and ESPECIALLY to men. They are still subjects to strict standards of 'appropriate' libido, but are socially permitted to take on any sexual role with partners of any gender. (An akoshos receiving penetrative sex is not 'shamed' like a man is, as they are in part women and that is their lot (including the spiritual pollution seen as inevitable for women via penetration). An akoshos performing penetrative sex is also acceptable (though any receiving male partner is 'shamed'), as they are ''''physically men'''' and this is also their lot). A woman who is 'disproportionately' interested in sex with women may be regarded as overmasculinized or having an excessive libido, but an akoshos exclusively interested in women will not usually draw scrutiny (again owing to their conception as being both male and female).

Not ALL akoshos would be trans women or otherwise transfeminine in the contemporary LGBT+ context (though a probable majority are). This role is also the only one that allows for people designated male to have open and mutualistic romantic/sexual relationships with men (eunuchs can as well, but this is not the most attractive route for obvious reasons), and the only role where one can marry a man, so it may appeal to some who would be considered cis gay/bi men. The role could attract a variety of people for a variety of reasons (a minority could even be cis and het), and conversely not all trans women or nonbinary transfeminine people would be comfortable or self-actualized in the akoshos role. It's culturally specific, just one representation of the myriad ways people conceptualize, reject, or transcend sexuality and gender.

[aziraphales-library]

Hello beautiful human !

Can I find in, your glorious library, stories where Crowley has good friends who care for him deeply? Aside from Aziraphale, ofc.

Thank you so much in advance ❤️

Hi! I would recommend our #apocalypse buddies, #crowley & muriel, and #friendship tags for fics to enjoy. Here are more fics in which Crowley has good friends...

Angel, Please by GhostOfCallisto (M)

Crowley and Aziraphale are both regular old humans who met under human circumstances. Crowley is a part of a struggling band called Hellish Rebuke with the demon crew, Aziraphale is a former drag queen named Angel Fell attempting to be a professional dancer. Maggie and Nina are best friends with Crowley and big fans of his band.

I'm Gonna Set Things Right Again by iocallistoeuropa (G)

Aziraphale has gone off to Heaven, Crowley is driving around the country aimlessly, Muriel has learned how to have a "cupperty", and Give Me Coffee... or Give Me Death has now been expanded and renamed Give Me Coffee, Give Me Records... or Give Me Death. Some things have changed for the better, but others have turned into quite a mess. Is there any way to set things right again?

Who Am I Without You? by Lainey_Marie (T)

After Aziraphale left for Heaven, all Crowley wanted to do was lose control of himself and spiral until he couldn't feel anything anymore but there is an angel needing his help to adjust to life on Earth and a pesky coffee shop owner who just won't let him drown in his immense sorrow. With the help of his new friends, Crowley attempts to figure out who he is when he isn't living for Aziraphale or to do Hell's bidding. But what happens when that very same angel returns in desperate need of a hand to save the world once more?

You're Just a Little Under Rehearsed by MickyRC (T)

Drama teacher Crowley loves directing the Tadfield Community Players' shows—interacting with the rest of the staff at the community center, not so much. So when he meets the new accompanist for this year's musical, he's shocked to find that he might actually like him. Possibly more than like, if he's being honest. Aziraphale is fresh from leaving a long career as a church pianist, and hoping that a new job will get him out of the lonely rut he's found himself in. The attention and kindness of the flashy community theater director are unexpected, but not unwelcome. Far from it. But with a community theater to run, a show to put on, and a disgruntled R.P. Tyler looking for any excuse to get rid of Crowley and his theater program, will they be able to make a relationship work? And, more importantly, can they make sure the show still goes on?

The Prize by Caedmon (E)

Need a car? Date my brother. My brother is a real angel but needs a helping hand in the social/romance department, so I’m trying to help him find a good guy. Ages 35-50, employed, good looking, emotionally stable. After an entrance interview, if you successfully date my brother for a set amount of time and pull him out of his shell, I will give you my garage kept 1933 Bentley. Serious inquiries only. Contact gabriel@messenger.com

love like yours (will surely come my way) by CCs_World (T)

Dr Zira Fell is a new professor of theology at St Beryl's University. His first day there he meets the mysterious and enchanting Dr AJ Crowley, an art history professor and a painter. They almost immediately become friends, and spend most of their time getting lunch together, talking, drinking wine, making art, and falling slowly in love with one another. Featuring cameos of everyone's favorite (and least favorite) characters, gratuitous descriptions of paintings, long text messaging conversations, and one cranky cat.

- Mod D

[whencyclopedia]

Søren Kierkegaard

Søren Kierkegaard (1813-1855) was a Danish philosopher and is considered to be the first existentialist, influencing such notable philosophers as Jean-Paul Sartre (1905-1980) and Martin Heidegger (1889-1976). His works are a reflection of alienation, angst, and absurdity, and include Either/Or (1843), Fear and Trembling (1843), and The Concept of Anxiety (1844).

He was embraced by his fellow existentialists for his belief in the importance of the individual against an apathetic, hostile society. However, unlike other existentialists, his body of philosophical works has a strong theological vein. Denise Despeyroux, in her book The Philosophers, wrote that Søren's life was filled with painful experiences, which colored his works – works that displayed "great dramatic and poetic power. They are filled with parables, aphorisms, fictitious letters and diaries as well pseudonymous and fictitious characters" (110). She added that his struggles with religious questions served as a "potent stimulus" for other writers and thinkers of his generation.

Birth & Education

Søren Kierkegaard was born on 5 May 1813 in Copenhagen, Denmark, to an affluent family as the youngest of seven children. His father, Michael Kierkegaard, was a successful businessman, while his mother, Ane Sørensdatter Lund, had been the one-time maid of Michael's first wife. Søren claimed his father was the most influential figure in his life. Unfortunately, he suffered terribly from anxiety and inner turmoil, and this Søren 'inherited' from his father. Michael was deeply religious, a member of a pietistic form of Lutheranism, and was convinced that because of his past sins – he had once cursed God – none of his children would live past the age of 33, the age of Jesus Christ when he was crucified. Coincidentally, five of Søren's brothers and sisters, as well as his mother Ane, would die before Søren turned 21. Only Søren and his brother Peter survived. To Michael, it was a sign of divine retribution. According to Jeremy Stangroom in his The Great Philosophers, Søren maintained that his childhood was "insane" and "he had come into the world as the result of a crime" (100). Regrettably for Søren, his father passed on his "pessimistic and gloomy religious outlook to his son" (ibid).

Despite a chaotic childhood, his education was "surprisingly normal," attending a distinguished private school – the Borgedydskolen – where he was considered an outsider, "lonely, aloof, and intellectually the superior to his classmates" (ibid). Hoping to become a pastor as his father had suggested, at the age of 17, he entered the University of Copenhagen, where he studied theology, philosophy, and literature. In 1838, while he was attending university, his father died, leaving him with a large inheritance. After graduating in 1840, he began the life of an independent thinker and writer, but it would be a life consumed by inner torment and angst, evident throughout his writings.

Shortly after graduating, he made the mistake of getting engaged to Regine Olson, ten years his junior. He regretted the engagement the moment it was made. One year later, in 1841, he broke off the engagement, believing that his melancholic temperament made him unsuitable for marriage and he considered her to be intellectually incompatible. The affair with Regine had a lasting effect on Søren and would appear in both his journals and other works. Free from an unwanted engagement and with a large inheritance, he was free to begin a career as a writer. Oddly, throughout his life, he only left Copenhagen three times, spending most of his free time walking the streets of the city or attending the theater.

Continue reading...

[shatar-aethelwynn]

The Bible is not like American Gods. The Bible is not like Aesop's Fables. The Bible is not historical fiction in the modern sense. The Bible is not a book of fairy tales. The Bible is most definitely not child-friendly. The Bible is not a history or science textbook. The Bible does not support or endorse any modern political party.

The Bible is a complex anthology of texts written over hundreds of years. The Hebrew Bible was written in 2 different languages, and under the influence of at least 4 major world empires. The Christian addition adds a third language and a fifth empire. IT IS COMPLICATED OK?! It's not something you can sum up with some derogatory "oh, it's no different than - " any more than you could say that all of English language theater for the past few centuries is "just retellings of Shakespeare's plays."

I love comparative analysis as much as the next person, but it has destroyed the willingness of most people to think critically about individual sources. And to be honest the prevelance of Systematic Theology in mainstream American Protestantism hasn't really helped either.

[anonymous-gambito]

RGU is a lot to take in on the first watch, but after a few months, understanding rgu became easier to me when I realized that:

– It's not that every object of symbolism means its own thing, but that a lot of them are simply different ways of expressing similar ideas

– This is an oversimplification, but a lot of characters in rgu are basically just AUs of each other, so if an aspect about a certain character suddenly becomes clear to you, that means you start understanding like 10 more mfs better by default

– 💖Everything💖 is about Revolutionary Girl Utena actually, so you're watching/reading something about politics, theater, biology, greek mythology, fairy tales, feminism, theology, astronomy, astrology, history, etc? Apply rgu to that and you'll probably find something interesting

[rabbits-of-negative-euphoria]

Goodreads has suspended all ratings and reviews of Hillbilly Elegy, so I'm just going to post mine here:

4 of 5 stars

“By the time I was in seventh grade, many of my neighborhood friends were already smoking weed. Mamaw found out and forbade me to see any of them. I recognize that most kids ignore instructions like these, but most kids don’t receive them from the likes of Bonnie Vance. She promised that if she saw me in the presence of any person on the banned list, she would run him over with her car. ‘No one would ever find out,’ she whispered menacingly.”

Before I worked for CPS, I would’ve said the solution to the underclass was to abolish welfare. After working for CPS, I can tell you the only thing that will fix the pathologies of America’s low-income communities is true religion. They have religion, but it’s a superstitious, prosperity-gospel, liberation theology that requires no repentance and no devotion. It’s something you’re born into, and the mode of salvation is one-hundred percent customizable.

Does this mean their irreligiosity is what caused their economic plight? Not at all. Plenty of people are terribly poor despite their richness of faith. But the social problems that have increasingly plagued the lower classes since men in suits tried to finesse fate in the 60s—broken families, drug abuse, alcoholism, suicidality, sexual promiscuity, domestic violence, recidivism, and job insecurity—cannot be stuffed back into Pandora's Box by anything short of a spiritual, cultural revival. Not even the best psychologists and policy makers can solve issues that stem from the heart.

J.D. Vance reaches many of the same conclusions in Hillbilly Elegy. Certainly, there are strategies we can implement to alleviate suffering where possible. There are countless ways in which the current welfare state could be reformed (without being expanded) to alleviate the suffering of the most vulnerable (e.g. Section 8 not housing all its recipients together; instead, dispersing them among the middle class where attitudes of self-reliance are more necessary). And I still think eliminating the welfare system altogether, at least at the federal level, is a worthy long-term goal. But to give an escape car to a man who never learned to drive is to merely clutter up his garage at best and cause a fatal highway pileup at worst.

The core of conservatism is the knowledge that mankind is fundamentally wicked, yet many conservatives talk about the poor the same way liberals do. If only their circumstances changed, they would, too. For the liberals, the circumstance is lack of resources. For the conservatives, it’s dependence on the state. Both circumstances are deleterious, but neither is the root cause of our bloated prisons, foster care system, or failing schools.

Working for CPS made me realize that I wasn’t really conservative; I was a libertarian who believed she was conservative. I am still learning what real conservatism is. In many ways, I think J.D. Vance is also a libertarian who believes he is a conservative, but in this particular respect, he is far more conservative than most who claim to be.

I worry sometimes that regular people read books like this or watch movies like its adaptation and merely see a cast of zany characters who represent a tiny minority of people in a faraway region of the country who don’t affect you. But these people exist in your community. You just don’t notice them. They’re at the Applebee’s, the Walmart, the movie theater. They’ve driven 40 minutes to be at the psychologist’s office under the parking garage downtown.

With the rise of social media transcending all barriers, including class, I have observed middle-class teenagers and young adults behaving like these previously invisible people. Adopting the same selfish habits and hard-done-by worldviews. In my job, I saw daughters of wealthy, Christian couples end up in a trailer park, addicted to meth with two baby-daddies. If things continue this way, the underclass will ever expand.

Rather than escapees such as J.D. Vance ascending to a higher quality of life, those ignorant or resentful of their privilege and advantages will descend to this humiliated, chaotic rot that sinks its claws in and doesn’t let go except by divine providence.

[walterdecourceys]

you all have to remember that as much as i may appear to have intellectual interests i am at heart a terrible awful theater kid. classics and theology and 20th century history may come and go but broadway remains eternal in my mind

[peach-and-bugs]

I have been wondering what you think the girls would study in college (if they were teenagers in 2021 and no crash happened) (including Jackie obvs)

oooo! This is actually such a fun idea!!! I'm also adding Laura Lee bc she deserves it and I love her! I also kinda went into what they would do with their degrees after school

What would the Yellowjackets study and major in college (no crash)

tw: religious themes with Laura Lee

Jackie

✰ So, Jackie is a hard one. She's the kind of girl who goes into school thinking she's got the world figured out, only to realize that no, she doesn't, and get hit with quite a rude awakening

✰ She'd go in choosing something rather ambitious, having a hard time with it, and possibly taking a gap year to figure herself out

✰ Ultimately, I could see her as an early education major. She didn't think it would be something she'd enjoy, but to her surprise, she does, and eventually, once she graduates she becomes a kindergarten teacher at Wiskayok Elementary

Laura Lee

✰ Laura Lee Is so dedicated to her religion, and I have to have respect for that. But I could easily see her going into youth ministry with a degree in theology and possibly a minor in religion studies

✰ However, I could also see her minoring in music because of her piano! While she doesn't like her teacher much, I really do think Laura Lee enjoys the piano itself and I could see her leading a youth choir in her church

✰ She's definitely working in a progressive church. personally, I think she was raised to be more conservative, but in a world where she gets to go to college and grow more away from her family, she developed her own opinions and becomes a far more open person, viewing god as someone far more excepting then what she was initially taught

Lottie

✰ I fully see Lottie going to college knowing from the start that she wants to study teaching/education. She'd go back and forth about wanting to teach little kids and older kids, but she'd ultimately settle on teaching middle schoolers

✰ I could see her being an English teacher or possibly a history teacher! She loves connecting with kids and giving them a voice and lending an ear, especially with them being at such a frustrating age

✰ I can also see her minoring in French! Yes, Lottie isn't supposed to be good at French, but I think that's a complete lie. If her school doesn't have a French program, she'd 100% start an after-school club or run summer classes for students interested in learning

Misty

✰ I could see Misty sticking with nursing, but she's also a giant theater kid. She seems like the type to go to a small liberal arts school for musical theater or improve with huge dreams of acting on stage

✰ I really think she'd find a great community in a theater/arts program because even though she's always gonna be a weirdo, she'll definitely find more weirdos to be her friends (this is coming from someone who has theater majors as friends)

✰ This could be some of my own self-projecting, but I think she'd get really involved in the nightlife of college and eventually frequent the drag scene with her friends. She's also always going to rocky horror. Ultimately that's how she realizes she's gay

Natalie

✰ I think the only way Natalie is going to school is on a full-ride scholarship, but even then, college doesn't seem like her thing. I could see her following one/some of the girls to their college campus to screw around and figure herself out, living some of the college life without actually going to school

✰ Natalie would try to pursue a music career, no questions asked. She's shown to have a love for music and she already looks like a rock star, so it just makes the most sense for her. She'll crash on couches, eventually getting her own apartment while she writes her own music and I think she could eventually really take off

✰ she'd get a band together and eventually tour, writing music kinda along the lines of classic rock and grunge with some riot girl in the mix. Think pearl jam, foo fighters, and le tigre (all great groups that I highly recommend)

Shauna

✰ Shauna is 100% getting a Literary Arts degree, no questions asked. Or an English degree with a focus on creative writing

✰ She gets to explore herself, take her semester abroad in Paris like she'd hoped, and eventually she becomes a New York Times bestseller for her works of poetry

✰ She'd also delve into fiction and I could even see some of her work getting turned into limited series or films eventually. She's quite humble and lives a quiet life, though she enjoyed being in the spotlight for her work

Taissa

✰ I still think Tai would study law and become a Lawyer and potentially still go into politics. But part of me kinda wants to say she'd take an interest in environmental science and possibly become an environmental lawyer?

✰ I really don't know why I thought of that, but I think it would be really interesting for her. I think she'd still end up with Simone and Sammy and she'd go to New York for work a lot of the time

✰ If she did run for office again, she'd have a heavy focus on environmental conservation. I could also see her getting into National Park works

Van

✰ So, originally I kinda thought Van would be a dropout, which sounds bad, but I was thinking about her store. But then I realized that she'd only got her store because she was stuck trying to relive her life before the crash, so no crash, no store

✰ Ultimately, she's a film major. She's either getting a film studies or production degree. Van loves movies and would want to get involved with that world, creating movies like what she grew up watching, like The Goonies and Alien

✰ She absolutely hates remakes and remasters, so if she's directing or writing her own films, they're going to be originals that still hold the nostalgia of the 80s and 90s

[la-femme-au-collier-vert]

A List of Works Influencing and Referenced by IWTV Season 1

Works Directly Referenced

Marriage in a Free Society by Edward Carpenter

A Doll’s House by Henrik Ibsen

Madame Bovary by Gustave Flaubert

Cheri by Collete

A Streetcar Named Desire by Tennessee Williams

La Nausee by Jean-Paul Sartre (credit to @demonicdomarmand )

Complete Poetry of Emily Dickinson edited by Thomas H. Johnson*

Blue Book by Tom Anderson

The Book of Abramelin the Mage

The Savage Garden by Mark Mills credit to @speckled-jim

Midnight in Washington: How We Almost Lost Our Democracy and Still Could by Adam Schiff credit to @spreckled-jim

America and Dissent: Why America Suffers When Economics and Politics Collide by Alan S. Blinder credit to @speckled-jim

Dairy Queen Days by Robert Inman credit to @speckled-jim

Plan B 2.0: Rescuing a Planet Under Stress and a Civilization in Trouble by Lester R. Brown credit to @speckled-jim

Attila: the Judgement by William Napier credit to @speckled-jim

In A Heartbeat by Rosalind Noonan credit to @spreckled-jim

The Lost Recipe for Happiness by Barbara O'Neal credit to @speckled-jim

Toward a Christian Theology of Religious Pluralism" by Jacques Dupuis credit to @speckled-jim

Strawberry Hill: Horace Walpole's Gothic Castle by Anna Chalcraft & Judith Viscardi credit to @speckled-jim

Sailing to Byzantium by Yeats

The Circus Animal's Desertion by Yeats

The Second Coming by Yeats

Don Pasquale by Gaetano Donizetti with libretto by Giovanni Ruffini

Iolanta by Pyotr Tchaikovsky with libretto by Modest Tchaikovsky

Pelleas et Melisande by Claude Debussy

Epigraphes Antiques by Claude Debussy

Bram Stoker’s Dracula (1992)

Nosferatu (1922)

The Graduate (1967)

Marie Antoinette (1938)

On the Origin of the Species by Charles Darwin

De Masticatione Mortuorum in Tumulis by Michael Ranft (1728)

Emily Post’s Etiquette

Bach’s Minuet in G Major (arranged as vampire minuet in G major)

Artworks referenced (much credit in this section to @iwtvfanevents and to @nicodelenfent )

Fall of The Rebel Angels by Peter Bruegel The Elder (1562)

The Storm on the Sea of Galilee by Rembrandt (1633)

Three Peaches on a Stone Plinth by Adriaen Coorte (1705)

Strawberries and Cream Raphaelle Peale, (1816) credit to @diasdelfeugo

Red Mullet and Eel by Edouard Manet (1864)

Starry Night by Edvard Munch (1893)

Self Portrait by Edvard Munch (1881)

Captain Percy Williams on a Favorite Irish Hunter by Samuel Sidney (1881)

Autumn at Arkville by Alexander H. Wyant 

Cumulus Clouds, East River by Robert Henri 

Mildred-O Hat by Robert Henri (Undated)

Ship in the Night James Gale Tyler (1870)

Bouquet in a Theater Box by Renoir (1871)

Berthe Morisot with a Fan by Édouard Manet (1872)

La Vierge D’aurore by Odilon Redon (1890) credit to @vampirepoem on twt

Still Life with Blue Vase and Mushrooms by Otto Sholderer (1891)

After the Bath: Woman Drying her Hair by Edgar Degas (1898)

Bust of a Woman with Her Left Hand on Her

Chin by Edgar Degas (1898) credit to @terrifique

Backstage at the Opera by Jean Beraud (1889)

Roman Bacchanal by Vasily Alexandrovich Kotarbiński (1898)

Dancers by Edgar Degas (1899)

Calling the Hounds Out of Cover by Haywood Hardy (1906)

Dolls by Witold Wojtkiewicz (1906) credit to @gyzeppelis on twt

Forty-two Kids by George Bellows (1907)

The Artist's Sister Melanie by Egon Schiele (1908)

Paddy Flannigan by George Bellows (1908)

Stag at Sharkey’s by George Bellows (1909)

The Lone Tenement by George Bellows (1909)

Ode to Flower After Anacreon by Auguste Renoir (1909) credit to @iwtvasart on twt

New York by George Bellows (1911)

Young Man kneeling before God the Father

Egon Schiele (1909)

Kneeling Girl with Spanish Skirt by Egon Schiele (1911)

Portrait of Erich Lederer by Egon Schiele (1912)

Krumau on the Molde by Egon Schiele (1912)

Weeping Nude by Edvard Munch (1913)

The Cliff Dwellers by George Bellows (1913)

Church in Stein on the Danube by Egon Schiele (1913)

Self Portrait in a Jerkin by Egon Schiele (1914)

The Kitten's Art Lesson by Henriette Ronner Knip credit to @terrifique

Three Studies for Figures at the Base of a Crucifixion by Francis Bacon (1944)

New York by Vivian Maier (1953)

Self Portrait by Vivian Maier (Undated)

Self Portrait by Vivian Maier (1954)

Slave Auction by Jean-Michelle Basquiat (1982)

(Untitled) photo of St. Paul Loading Docks by Bradley Olson (2015)

Transformation by Ron Bechet (2021)

(Untitled) sculpture in the shape of vines by Sadie Sheldon

(Untitled) Ceramic Totems by Julie Silvers (Undated)

Mother Daughter by Rahmon Oluganna

Twins I by Raymon Oluganna

@iwtvfanevents made a post of unidentified works here.

Works Cited by the Writer’s Room as Influences

Bourbon Street: A History by Richard Campanella (as it hardly mentions Storyville I think interested parties would be better served by additional titles if they want a complete history of New Orleans)

Invisible Cities by Italo Calvino (This was also adapted into an award winning opera)

poetry by Charles Simic (possibly A Wedding in Hell?)

poetry by Mark Strand (possibly Dark Harbour?)

Works IWTV may be in conversation with (This is the most open to criticism and additions)

The Picture of Dorian Gray by Oscar Wilde, uncensored (There are two very different versions of this which exist today, as Harvard Press republished the unedited original with permission from the Wilde family.)

Absalom, Absalom! by William Faulkner

Warsan Shire for Beyoncé’s Lemonade

Faust: A Tragedy by Johann Wolfgang von Goethe

Wuthering Heights by Emily Bronte

La Morte Amoreuse by Theophile Gautier

Carmilla by Sheridan LeFanu

Maurice by E.M. Forster

Invisible Man by Ralph Ellison (credit to @johnlockdynamic )

1984 by George Orwell (credit to @savage-garden-nights for picking this up)

The Yellow Wallpaper by Charlotte Perkins Gilman

A Rose for Emily by William Faulkner

Gone With the Wind film (1939)

Hannibal (2013)

Beauty and the Beast by Gabrielle Suzanne de Villenueve

Music used in Season 1 collected by @greedandenby here

*if collected or in translation most of the best editions today would not have been available to the characters pre-1940. It’s possible Louis is meant to have read them in their original French in some cases, but it would provide for a different experience. Lydia Davis’ Madame Bovary, for example, attempts to replicate this.

** I've tagged and linked relevant excerpts under quote series as I've been working my way through the list.

Season 2 here

Season 3 here

[mask131]

Thinking about it, I do believe that the big misunderstandings of the Greek gods on the Internet today (or in media recently) is due to a problem of... let’s say “character VS personification”. 

People have grown too much accustomed to the consumption of Greek myths and legends as... not so much “stories” but... as fiction. Which leads them to treat the Greek gods as characters of tales and stories. Which leads people to treat them like... well, like people. Like full humans. Thinking about their actions only in terms of human/social/psychological reasons and consequences. And people forget the very essence and nature of the gods...

The Greek gods are personifications. They are allegories, and their actions always reflect their actual nature as a part of the world or a human phenomenon. It is true that when you read the Greek myths as they reached us today, you will read what seems to be stories about super-humans, because said stories were given to us through epic poems and theater plays. But there was a whole theology and religious thinking behind those myths (to the point some of the ancient litetature of the Greeks was criticized by religious authorities for deviating from their actual beliefs) ; and there was an entire philosophy surrounding those myths. Literal philosophy - with Ancient Greek philosophers not only re-reading and interpreting the myths in the lights of their teaching, but also inventing their own “philosophical myths”. The Greeks had time to read and rewrite and discuss their own myths and stories for centuries and centuries - and thus these stories ended up with numerous layers of meaning and interpretations woven through them.

Which is why to fully understand a myth, one must look behind the simple story. A god in the story is never just a character, but always something else. Poseidon is a grudge-holding, monster-birthing deity prone to mood swings which place him alternatively as an ally or an antagonist - but it isn’t just because “he is like that”. He is like that BECAUSE he is the god of the sea, and the Greeks, as sailors and explorers and island-dwellers, knew very well that the sea was a changing and treacherous thing, the sailor’s best friend and worst enemy at the same time. The fact that Apollo is at the same time the god of truth, the god of beauty and the god of art isn’t just because it’s his hobbies - it is because for the Greek all these concepts were inter-connected, art being beauty, the truth being beautiful, the best art being the truthful art, etc... And as a result myths are always about something else than their own story. The most famous case being Persephone’s abduction. People keep treating it as just being a love story - forgetting that, beyond the story of a guy in love with a girl and a mother worried for her missing girl, it is actually also a fable for the brutality anf unfairness of death striking young people, and how a mother can deal with her grief. It is literaly the story of “Kore” (which isn’t a proper name, but just means “maiden” or “young girl”), being ravished by Hades (whose name is ALSO the name of the Underworld), of a young girl plunged from the world of the living to the world of the dead, and a distressed mother crying for her disappeared daughter... 

I can list on and on the examples, but I think you get my point. Yes, it is nice to know the story. It is better to try to understand them. The topic came when I read something about Zeus recently... It talked about the gods embodying “order” - and it listed Zeus, for after all he was the ruler of the cosmos, punisher of wicked ones and fighter of monsters, the god of justice overseeing all oaths and the basic principles of Greek society... But this text added that however, his behavior character wise was “much more chaotic”. Notably pointing out towards Zeus’ wild behavior around females of all kinds. It is true that a serial cheater with a HUGE number of lovers of all kinds, and lots of “bastard children” everywhere seems to contradict his role as a god maintaining order and morals... But again, the key is looking beyond that. Yes, Zeus is massively unfaithful on his wife and seemingly can’t keep his thunderbolt in his pants - if you pardon me the expression. But the question that nobody asks is... Why is he like that? Why does he do that? Just because he is a horny guy? That’s the superficial explanation, that’s the joke explanation. That’s not what the Ancien Greeks would have answered you. This precise topic is one I like to reuse frequently because it illustrates perfectly something that feels natural to those that read about Greek mythology from experts, and yet can seem like a sudden mindblow for those that only know Greeks myths from popular fiction. 

I do not recall where exactly I read this explanation - but I am certain it was in one of the books about Greek myths written by famous French experts, so it was probably from Jean-Pierre Vernant or Pierre Grimal, or someone of those waters. Why is Zeus such a horny dog? We have to think about his titles. “Father of Men and Father of Gods”. It isn’t just a nickname or a title, it describes what he does: he birthed most of the major Greek gods, and he birthed many ancestors of humanity. It also makes you think: what was Zeus’ first action when he became king of the cosmos, when he took over the world after fighting the Titans? He married, several times, and had numerous lovers, with which he birthed some very important gods. Through sex he actually created important elements needed for the world. Not counting the other Olympian gods, he gave birth at the beginning of his reign to the Arts (Muses), the Seasons (Horae) and Fate itself (the Moirai), basis for the civilized world and an ordered, stable cosmos. And who are the other children of Zeus, all those “bastards” children he got out of being unfaithful? Heroes. Heroes who build principles of civilization, heroes who destroyed monsters, heroes who threw down criminals and tyrants. Good things. That’s the thing with Zeus: he constantly lusts after women, yes, and he constantly has sex, yes... but most of the time, if not always, it is to create something good. He keeps procreating beings, things and people needed for the universe to form itself, for civilization to form itself, for the world to get better and evil/chaos to be defeated. Herakles and Athena and Perseus... Even through his unfaithfulness, Zeus keeps creating new agents and champions of order, law and justice. 

It is in fact quite interesting to look at Tumblr here, because on Tumblr there are favorite deities who are depicted right because people love them enough to go dig into their symbolism and their religious festivals and their philosophical meaning. Dionysos is the one that comes to mind. And then other deities whose deeper meaning gets thrown out of the window. 

A good counterpart to Greek mythology, in the approach of “character vs personification”, is Norse mythology. Because the Norse gods, as depicted and represented in mythological texts such as the Eddas, are actually “characters before the personifications”, the reverse of Greek gods which are “personifications which were given character”. I am not saying that the Norse gods aren’t personifications, that would be a stupid claim. But what I am saying is... Often people try to enter Norse mythology asking “So, this god, what is he the god OF?” because they assume Norse gods are like Greek gods, defined by their field of action and what they represent or rule over. When in truth, the Norse gods are defined by who they are, not so much by what they are. Odin is the one-eyed wanderer, and the eight-legged horse-rider king of the Aesir, and the cunning rune-master ruling over Valhalla. Thor is the very strong god, and the hammer-wielding jötunn killer riding on a goat-chariot, and the red-haired hero of Asgard who fears nothing and fished Jormungandr out of the sea once. Everybody knows today that Thor is the god of thunder and lightning - but it isn’t said, or explicitely spelled out in most of the Old Norse texts. It is not like Zeus who is explicitely said to use thunderbolts on his ennemies - Thor’s hammer doesn’t have lightning shooting out of it. To get this, to get what a Norse god is the “god of”, there is a work of research that needs to be done. For a Greek god it can be obvious due to their attributes and names (Hestia for example - her name literaly means “hearth” and she started out as the hearth being venerated, before being personified). For a Norse god, to get the “what” of the deity, you will need to look at the archeological remains of the religion and cult of Norsemen, you will need to theorize based on the etymology of the deity’s name and its relationships, you will need to collect the kennings and local expressions and other folk-sayings and interpret them. It is a para-characterization that isn’t obvious, or sometimes doesn’t even appear, in the Norse texts per se. Because in the Norse legends as they came to us, the gods are mostly defined as characters - by their function (guardian, warrior, king), by what they do (power to see far-away, power to know the future), by what they look like (missing one hand, or golden hair)... For exampe, for a very long time it was thought that Loki was the god of fire. It was a strong, popular and famous interpretation - but research and experts have proven that it is a late re-interpretation of the deity, who originally probably didn’t had anything to do with fire and was just mixed up with other fire-figures (like Logi) with time, the same way Loki was mixed with Utgard-Loki as a “master of illusions”. 

This phenomenon of inversion can be summed up quite easily. In Greek mythology, we have TONS of secondary and tertiary deities who are basically personifications without any kind of legend or myth to them, uncharacterized allegories that sometimes are just a name appearing in a list of concept. In Norse mythology, you have tons of secondary and tertiary deities without myths or legends, who are just names in a list - but this time, we have their names, we have a basic characterization, we know who they are, and the problem is that we don’t know what they are supposed to represent. You have tons of small Norse gods about whom people keep asking and searching “What did they embody? What did they personify?”. The character without the personification.