#or considering this is psychoanalysis of house

[theseawhisperdme]

House MD 8x17 "We Need The Eggs"

What an interesting episode.

House chooses to hide Dominika's mail in order to sabotage their non-relationship relationship. He throws it into the trash! He was asking to get caught and suffer consequences and he knew it. He was fine with coexisting out of necessity to fool immigration, but the moment Dominika has a real choice to stay with him or leave, he blows up the relationship. What a control freak.

This, in the same episode where House interviews hookers to replace his regular hooker, who is ending their commercial relationship because she feels bad about sleeping with House in front of his green card wife, when Dominika and House have feelings for each other. Insane. House has literally compartmentalized sexual and emotional intimacy. They exist in different rooms of his apartment he pays one of them and is being paid by the other

In the same episode where the medical plot is a man who happens to be "dating" a sex doll because she can't disappoint him or fail to reciprocate his feelings, unlike all the real women.

Like the patient, House chooses the "safe" familiar option, which makes him empty and miserable, over the possibility of greater pain and loss. His intimacy issues make me feel SICK he is SOOO-- *tearing my hair out*

All while Park has started dating the blonde Fall Out Boy.

[cedarxwing]

The ending of Hannibal the novel explained

(aka the breastfeeding scene)

Here's the passage (end of Chapter 101):

I thought everyone was kidding about the breastfeeding kink jokes until my partner read Hannibal and the whole ending flew over their head. Their main takeaway was "that was weird." When I checked reddit, it seemed everyone was confused there too. I was gobsmacked to see one guy say that Thomas Harris was playing some cruel joke on the reader by writing an ending that didn't make sense!

How many people are reading Hannibal like this, completely missing the resolution to Hannibal's character arc? They must finish the book confused about what it was all about in the first place. So here's how I understand it!

First, I need to get this out of the way: a lot of people hate this scene, and from what I understand it's because they're weirded out by the "breastfeeding kink." Which is fine, but it makes me want to gently hold them by the hand and tell them that it's ok for someone to suck on a nipple. It happens all the time. Sometimes it just feels good, sometimes it's part of a breastfeeding fantasy, and sometimes it's literal breastfeeding. Between consenting adults, this is all fine and normal. Let's all move past this knee-jerk repulsion (or alternatively, sit in our discomfort and expand our horizons) so we can analyze this piece of art together. :)

Next, authors LOVE Freudian psychoanalysis. Even though it's all nonsense, it's full of literary allusion and makes for compelling narratives and character studies (childhood maladjustment, repressed memories, etc), which is basically catnip for a writer. Thomas Harris was no exception, and probably creamed himself (as I did) when he learned that Freud's oral-sadistic stage was also termed the "cannibalistic stage," referring to the time when an infant is growing teeth and begins to bite at the breast--the psychosexual urge to devour and destroy the thing you love. What could be more appropriate for Hannibal?

Next, consider the pattern of Hannibal's Il Mostro murders. He killed young couples in one of the most romantic cities in the world, then arranged them as Chloris and Zephyr from Botticelli's Primavera, exposing Chloris's left breast just like in the painting. In classical art, an exposed breast is often a symbol of fertility. Chloris is associated with spring, new growth, and transformation.

Perhaps, at the time, Hannibal rationalized these murders as retribution for rude behavior. Maybe the couples were performing disgusting PDA. Maybe they were obnoxious tourists on their honeymoons. Either way, it's clear to the reader that Hannibal has some deep-seated hang up about sex and romance.

The particulars of this hang up are open to interpretation, but based on Hannibal's obsession with the rape and transformation of Chloris as well as his embarrassment at the paintings of Leda and the Swan in the German's house, I think it's safe to say that Hannibal feels like any relationship he has with a woman who isn't aware of his true (monstrous) identity would involve a degree of violence/lack of consent. He is forever barred from normal romance.

Having given up on sex/romance, Hannibal is unable to consciously recognize his desire for Clarice, so he sublimates it into a more general familial love. He longs for a return to innocence, to return to the time before he ate Mischa and became an unlovable monster (cue the teacup metaphor).

But even familial love seems like too much to hope for, so he sublimates it further into something that seems more attainable: resurrecting the person whom he loved and devoured, and who loved him in turn (Mischa) through Clarice.

So we have the breast as a symbol of sex/fertility (Chloris/Clarice), as an object that is loved and devoured (Mischa), and as a literal source of sustenance that must be given up during infancy (mommy).

Big brain Clarice connects all these dots and, in the very same style of therapy that Hannibal has been using on her, distills Hannibal's psychological problems into a single poetic gesture that completely fixes Hannibal in an instant, proving that she's not only his intellectual equal, but is, in some ways, his superior.

When Clarice asks, "Did you ever feel that you had to relinquish the breast to Mischa? Did you ever feel you were required to give it up for her?", she's ostensibly asking Hannibal if he's stuck in the oral stage of childhood development (which yeah he probably is). On a deeper level, she's asking Hannibal to consider if he's given up on love.

When Clarice exposes her breast in the same fashion as Chloris, says, "You don’t have to give up this one", and suspends the drop of wine from her nipple, she is shifting his perception of her breast from familial devoured sustenance to a sexual object. Basically, "Why do you want me to pretend I'm your sister when we could be banging?" Hannibal is being aged out of his childlike mindset, not regressing into one.

There are other layers of meaning in this act. The hedonism of using thousand dollar wine for food play is a sign of Clarice's character development. The way Hannibal kneels before Clarice is a position of subservience, but could also be interpreted as devouring Clarice in a way that's new to him. It's the most self-actualized thing Hannibal has done since escaping prison (LOL) and marks the end of his hero's journey (as one of the first things we see him do in Hannibal Rising is nurse).

Personally, I don't read this scene as breastfeeding kink. Yeah, Clarice talks about breastfeeding, but that was more a metaphor for other stuff. Considering the direction of Hannibal's character arc, I understand this scene as him briefly licking the wine off before they have sex. But to each their own! ¯\_(ツ)_/¯

ANYWAY, yeah, it's unsettling. It's obviously meant to be. But it's beautifully unsettling! Hate it all you want, but this is peak cannibal romance, to me!!

[pallastrology]

FAQ: how to use astrology

artwork by frederic edwin church

disclaimer: there are, of course, many branches of astrology going back many hundreds of years, all with many uses depending on who you ask. location matters hugely too! different cultures and areas have, and do, use astrology differently. i have no experience outside of the uk so can't comment on this however. in this post, i'm talking about modern tropical astrology. as always, take what works and leave the rest <3

traditionally, astrology has been used for everything from academic research, medicine, informing politicians and farmers alike, and was considered an important science. nowadays, it has a poor reputation in some circles but is still a useful tool for lots of people, if used very differently. these days, it's mostly used on a personal level; astrologers still study carefully and make predictions about various sectors and generational changes, but the 'general user' is more likely to see astrology as some of the following:

a tool for psychoanalysis and self-development: this is how i got into astrology properly, as someone with a budding interest in psychology and a desire to improve my self-knowledge. learning about your natal chart, what the placements mean and how they interact with each other (and even with the placements of other people in your life) can be a really valuable tool for introspection and reflection, and ultimately, self-development and growth.

a tool for divination: this could be a post in and of itself, but to keep it quick, using astrology as a divination tool can be really helpful. keeping track of certain transits, like retrogrades, lunar transits, returns or just the daily movements of the planets and points around us can help us plan our time better, perform more effective rituals, be aware of when the time is (and isn't) right to make a big move, and feel more confident in our decisions.

part of a spiritual practice: this could be witchcraft, a religious or spiritual path you're on, or you just like to work with the moon. for example, you might want to incorporate elements of your placements in a spell, or perform a ritual during a certain lunar transit. you might use astrology in more of an 'old-fashioned' way in the form of an almanac, or avoid certain practices during mercury retrograde.

how i use astrology myself: i use it daily, as both a divination and a psychoanalytical tool. every month i consult my transits and jot down all the major/interesting ones in my planner, along with lunar transits as i love the moon lol. i use those transits to plan out certain activities, for example, a house clean every new moon, allowing extra travel time during mercury retrograde, carving out some time to relax and rest during certain lunar transits. i also feel i 'know what to expect' a bit, having done this (not as consistently as i'd have liked) for years, so for example i'm aware of how mercury retrograde affects me personally and can tailor my advice to myself a bit by now. i also consider astrology an integral part of my own spiritual practice, and i use it 'academically' to inform my tarot studies. never mind using it for this blog and for readings etc... it's definitely an important part of my daily life :-)

at the end of the day, whatever works for you, is what works for you. how do you use astrology day-to-day, if you aren't an astrologer? is it a big part of your life, or a bit of fun? how did you get into astrology, and was it a 'gateway' for you?

[brawlingdiscontent]

Studying the study

I wanted to unpack that beautiful Dubai apartment ‘reading room’ set - specifically what I see as its compelling central metaphor for the interview.

Framing the rooms of a house as a mirror for the psyche is Jungian psychoanalysis 101—but I think it's not hard to make the case for the study as reflecting Louis' mind.

Louis retreats there, it's his zen garden, though at the end of season 2, the rocks take on a more ominous significance—revealing how the supposedly serene space is mired in trauma, just as Louis is. 

One of the focal points of the space is the exaggerated, red desk light. We see Daniel sitting at the desk and examining documents. Metaphorically it represents the interview itself, shining light (or the truth), on Claudia’s diaries/Louis’ memories, placed on a high, inaccessible bookshelf, with pages cut out of them. 

This censorship initially seems to be for Daniel (Louis' stated desire to protect and not exploit Claudia)—but it's actually just as much for Louis, thus Armand getting upset when Louis wants to see the pages that were cut out.

The space’s other focal point is a magnolia tree bathed in artificial light, creating an illusion of the natural world. We might consider these two distinct areas of the study as representing Daniel’s influence vs. Armand’s. Whereas Daniel is dedicated to uncovering the truth, Armand is content with, and encourages Louis to accept beautiful illusions.

The two walls with deeply contrasting patterns that meet in the back represent Louis’ internal tension. 

[crystalsenergy]

The Healing process of Chiron in Cancer 🫀✨🫶

Chiron in Cancer can bring about deep wounds and sensitivities related to emotional and familial matters. The exact healing process can vary depending on which house Chiron is placed in your natal chart.

Chiron in Cancer in the 1st House: Healing starts with self-acceptance. Embrace your vulnerability and emotional depth. Work on nurturing your self-esteem and self-image. Seek therapy or counseling to address any childhood wounds and explore your identity within your family dynamics.

Chiron in Cancer in the 2nd House: Healing involves reevaluating your self-worth and financial security. Learn to appreciate your innate talents and abilities. Focus on developing a healthy relationship with money and material possessions, and recognize that your emotional needs are just as important as your financial ones. Also, look deeply and sincerely at where you invest your emotional energy. Do these things really comfort you and nourish your life?

Chiron in Cancer in the 3rd House: Healing centers on improving communication within your family and with your inner life. Express your emotions more openly and work on active listening. Explore your early education and childhood experiences, seeking to understand how they influenced your thought patterns and communication style.

Chiron in Cancer in the 4th House: Healing comes from addressing deep-seated family issues and finding emotional security within your home. Engage in inner child healing work and consider family therapy if necessary. Create a safe and nurturing environment in your home to heal your soul's wounds.

Chiron in Cancer in the 5th House: Healing involves embracing your creativity and romantic life. Explore your inner child's desires and passions. Express yourself through art, music, or other creative outlets. Seek healthy relationships that provide emotional support and encourage self-expression.

Chiron in Cancer in the 6th House: Healing revolves around self-care and emotional well-being in your work environment. Learn to set boundaries and prioritize your own needs while maintaining a sense of duty. Seek jobs or routines that nurture your emotional health, and consider therapy to address any work-related wounds.

Chiron in Cancer in the 7th House: Healing entails finding balance in your relationships. Address codependency issues and work on establishing healthy boundaries. Seek partners who provide emotional support and stability. Consider therapy to heal past wounds within your partnerships.

Chiron in Cancer in the 8th House: Healing involves diving deep into your emotional and psychological depths. Explore your subconscious and face your fears head-on. Therapy, especially depth psychology or psychoanalysis, can be transformative. Embrace transformation and rebirth as part of your healing process.

Chiron in Cancer in the 9th House: Healing centers on expanding your emotional horizons through knowledge and spirituality. Explore your beliefs and consider how they were influenced by your upbringing. Travel and education can provide healing opportunities, as can connecting with cultures different from your own.

Chiron in Cancer in the 10th House: Healing involves reconciling and balancing your emotions with your career ambitions. Address any family expectations or pressures related to your professional life. Strive for authenticity in your public image and seek a career path that aligns with your emotional needs.

Chiron in Cancer in the 11th House: Healing comes through nurturing friendships and aligning with like-minded groups. Address any wounds related to feeling like an outsider or past betrayals within friendships. Cultivate a supportive social network that understands and accepts your emotional vulnerabilities.

Chiron in Cancer in the 12th House: Healing involves delving into your subconscious and connecting with your spiritual side. Explore your past, including ancestral trauma, and work on releasing emotional baggage. Meditation, therapy, and dream analysis can aid in the healing process, helping you find inner peace and closure.

[misscrawfords]

11, 15, and 32?

11. what do you consider to be romance?

From my own personal experience, disappointment and rejection! lol

What would I like romance to be? Well, that's different... I love the image of two people moving forward together in parallel - not rushing into each other with a collision but living their lives and choosing to do it next to each other. What do I want? Someone clear sighted and rational who chooses me over and over again and who rewards my own loyalty with theirs. Who I can share a silly joke with or a knowing smile and whose eyes light up with interest because they are a fundamentally interesting person. I'm an extremely romantic person (hopelessly so at this point) but I don't care for any of the conventional things - hot house roses in February, public proposals, calling me "baby"... Please don't do that! Just be my "person" and be kind and clever and steadily there.

15. what do you think of when you hear the word “home”?

Lots of things. I guess on a basic level, my own home. But that's always felt temporary and not really mine in a way. I always thought I'd make a home with a family, not just me. I'm still kind of waiting. Or there's my childhood home. I still feel like I'm "going home", more than I feel in my own home. Then there's my deep attachment to places. Cambridge still feels like home when I go back. Cornwall feels like home even though I've never been there for more than 3 weeks at a time. Venice has a home in my heart. Are people "home"? Maybe. I don't know. I guess my mum is. I haven't been fortunate enough to meet anyone else who feels like home. Perhaps I've thought I had in the past but - see above - I've always been disappointed.

32. how many tabs do you have open right now?

Phew! A question not requiring deep and tragic psychoanalysis! 9 currently!

[adarkrainbow]

The Yaga journal: A system of supernatural characters

Baba-Yaga’s house, as depicted in Bill Willingham’s Fables 

The second article of the journal is “The Baba Yaga and the other supernatural characters of the fairytale. Do they form a system?” by Lise Gruel-Apert.

The Baba Yaga, or the crone. The princess, or fair maiden. The dragon, snake or devil. These are a few of the several supernatural characters that the hero or heroine of the fairytale meets during their quest. Vladimir Propp heavily talked about them in his “Historical roots of the fairytale”. This article doesn’t want to study these characters from a psycho-analysis point of view, because Gruel-Apert considers that the psychoanalysis doesn’t include enough the economical and socio-cultural context of the fairytale. This article will try to study the baba Yaga in her context, in the socio-cultural environment of which she belongs. 

However the writer mentions that such a reading can lead to many mistakes - because no matter how many interpretation and analysis one gives to a fairytale, it will stay blurry and unclear, for the fairytale itself is a foggy and unclear material. It is the realm of the “Once upon a time”, of the “In a certain kingdom, in a certain State”, where nothing is clarified. Ever since the 19th century, numerous fairytale interpretations were created, each following the different fashion of the time (first were the “moralizing” interpretations and the “Christianizing” interpretations, then came the “mythology” interpretations and the “meteorological” ones, then the “psychanalytic” ones, etc...). Gruel-Apert shares the opinion of a certain Luzel on this subject: that the mistake is that each searcher tried to stick only to one theory, reducing the fairytale to this exclusive theory. So the author of the article wishes to do an “inductive” rather than “deductive” study - that is to say, just like Propp, going from the text towards the formation of a theory (instead of taking a theory and applying it to the text). 

As Propp repeatedly said, the fairytale relies on the separation between our world and the “other world, the other side”, and on the travel from one to another - and the supernatural characters of the fairytale belong to the “other world”. The baba Yaga is the most emblematic, fascinating, and yet mysterious of those supernatural figures.

I) The Baba Yaga

Should we say “Baba-Yaga” or “the baba Yaga”? Should there be an article? It is hard to tell since the Slavic languages do not have articles, so technically speaking both ways are correct. However the Russian term “baba” is not a first name, or a person’s name, it is actually a word meaning “the woman of the lower class, the female peasant”. As for the name “Yaga”, it might be a deformation of “snake” - so her name might mean the “Snake woman”. The baba Yaga has several “aspects” to her character.

1) The abductor baba Yaga. Appearing suddenly out of nowhere, she steals away a little boy to roast him. But tricked by the boy-hero, she rather eats her own daughter. She appears as a huntress, and moves around in her mortar - she waits until she can rush on her prey (a prey that “smells like a Russian”, that is to say is alive). She is a cannibal, and she is a character revealing a society that is based on hunting but also knows primitive agriculture (the use of the mortar). She appears in tales such as “Small-Thomas” or “Filiouchka” (tales number 78 and 80 of Afanassiev’s fairytales). 

2) The warrior baba Yaga. In the tale “Small Piece” (tale number 76), tricked again by the hero, the baba Yaga kills her forty-one daughters instead of the forty-one brother-protagonists (including Small Piece/Small Bit). Near a lake, the baba Yaga fights them: she is as an Amazon, riding on a horse, with a fire-projecting shield. There is a clear divide between girls and boys. In the fairytale “Ivachko-Bear-cub” (tale number 105-106) she fights the companions of the hero, and cuts from each of them a strip of skin on the back. The hero inverts the situation by cutting three skin-strips from the back of the baba Yaga. The baba Yaga escape him, and returns under the ground, where she lives with her daughter - but the adult daughter betrays her mother to go away with Ivachko-Bear-cub. There is a divide baba Yaga/hero, but also daughter/mother. 

3) The donor baba Yaga. The hero of the story reaches a small isba in the forest, undergoes there trials, and receives gifts allowing them to cross from one realm to another and fulfill their goal (the quest of the desired person). According to Propp, the little isba marks the frontier between the two worlds.

4) The baba Yaga guardian of the realm of the dead. According to Propp’s analysis, the small isba is equivalent to a coffin: the Baba Yaga fills it from one corner to another, she is lying down on her stove with her nose touching the ceiling. She has a leg of bone, and she hates the smell of living things. Propp interprets the stay in the small isba as a remnant of the initiation rite of primitive societies, which caused a “temporary death”. For him, the baba Yaga is a caricature of the ritual’s leader.

5) The baba Yaga (or the Crone) mistress of the forest and of the wild animals. In “The Beauty of all Beauties”, tale number 119, she is said to rule over all the animals of the world - the beasts of the forest, the fishes, and the bird. In the sylvan world, the woman/mother/crone is the ruler. 

6) Baba Yaga as a sexual or familial character. The author rejects the analysis of Propp that claims “While she is mother and mistress of all animals, she doesn’t have human children”. She points out that, while it is true she doesn’t have a husband or a son, she has daughters (sometimes one, other times three, sometimes many more). As for her sexual attributes, fairytales insist a lot on her breasts, instead of her genitalia. She is said to have her “teats tied to a hook” in one story, which proves that it is rather the maternity of the baba Yaga that is interesting, rather than her sexuality proper. 

7) The soldar side of the baba Yaga. In two famous stories (Vassilissa the Beautiful, number 75, and Maria Marievna, tale 121) she commands the celestial phenomenon, but this aspect is quite limited in tales. 

In conclusion: if the Baba Yaga was perceived as the leader of an initiation rite, as a great goddess with multiple attributes - but she is before all a spirit tied to the forest and the hunt. She has daughters rather than sons, and her behavior changes depending on genders: she defends girls but attacks boys, there is a clear “maternal clan” at work. Like many spirits of nature, she is benevolent and malevolent at the same time, which manifests in the trial she imposes to the hero. For Propp, her ugly appearance and old age were meant to say that she belonged to a “dead and outdated religion” - she is an “archaic character”. 

II) The princess

The character of the princess also corresponds to the various names of: The Maiden-Tsar/the King-Girl ; the frog princess ; the daughter of the baba Yaga ; Vassilissa the Magical ; the Beautiful Daughter. 

She is of a beauty that is hard to describe - her beauty is equivalent to the one of the sun, as she is tied to the day and to gold. The princess is also tied to the water of springs - in “The Water of Youth and the Beautiful Girl”, tale 135, the water of youth and life appears out of her hands and feet. There are three different “subtypes” to her. First subtype: she is the beautiful girl ravished away, but strangely in the other world she is found as a ruler and not as a prisoner, the captured prey becomes the one giving orders. This contradiction hasn’t been studied enough for the writer of the article. Second subtype: she is the Girl-King, an Amazon character with an immense strength and leading a group of female warriors. When the hero finds her sleeping, her breath is “like the one of the oak tree’s leaf” (Water of Youth and the Beautiful Girl), and in one version of the story collected by Khoudiakov “apple-trees grow from her arm-pits”. She symbolies the sleeping earth. Third subtype: Vassilissa the Magic One, the frog-princess, they are the creators of a civilized nature, they invent agriculture, they invent marriage, they are cultural heros. 

III) The snake or the adversary

The snake is the main form taken by the “Adversary”. But he appears under different names: the she-snake, the dragon or she-dragon, Tchoudo-Youdo, the devil, the Hurricane, Kactcheï the Immortal. 

The word meaning snake in the Slavic languages is “zmeja”, a word coming from “zemlja”, the earth - the snake is the animal that comes out of the earth. In Slavic legends, the snake has positive sides: he has the power to heal, he owns riches, he guards the hearth. In some fairytales he is even the magical helper (Helena the Wizardess, tale number 182). 

However, most of the time, the dragon wishes to live with a maiden or a woman that was ravished (Roll-little-pea, tale 96-98) or to devour her (The Apple of Youth and the Kingdom below, tale 133). The dragon will also try to eat the hero (The Dragon and the Gypsy, tale 111, The two Ivan-sons of soldier, tale 117). Hence why the hero has to fght the dragon: the hero will cuts his heads, which will be difficult because he has many and they grow back. A second fight, more dangerous, is the fight with the mace - the head of the snake or dragon has to be placed under the earth. It is an archaic fight that highlights the monster’s tie to the earth - the same way the creature tried to eat the hero, the hero needs to have the creature “eaten” by the earth. The third type of fight, the most dangerous of all, is the one that happens when the dragons are killed, and when their women and mother enters: the mother-dragon opens a maw that goes from the heaven to the earth, and gulps down everything in front of her. The hero is only saved by a miracle, and never by his own means (it is a group of blacksmiths or a winged horse that saves the day). We have here a fight with a female figure of devoration. So the female dragon is extremely unpredictable and dangerous.

Another role of the dragon is to try to marry the hero. He has so many females around hm that he can ask the hero, before the fight “Do you come to marry one of my sisters or daughters?”, while the hero answer “I am not here to marry in your family, I am here to beat you up!” (Hurricane the Brave, tale 100). While this function of “wedding-planner” is not that present for the dragon, it is very present for the Tsar of the Water or for the devil. The Tsar of the Water, Tchoudo-Youdo, the devil/Tchort, all belong to the category of the “Adversary”. Surrounded by wives and daughters, they are tied to the motif of the “sell in advance”, aka “Give what you have in your house without knowing it”. These demonic characters take a son away from his father to marry him. They are marriage-creators as much as devourers. 

IV) The relationship between the Baba Yaga and her daughter, the Hag and the Maiden

Sometimes the Baba Yaga is merely the guardian of the kingdom of the Beautiful Girl, and she is submissive to the latter (variations of the “Water of Youth” tales, tales 134, 136-138, 140). However these two characters, of different generations and cultures, are often tied by a parentage. Sometimes they are mother/daughters (the hero married the Baba Yaga’s daughter in “Go I don’t know where, bring back I don’t know what, tale 164) ; other times they are aunt and niece (in Tchoudo-Youdo and Vassilissa the Magic Girl, tale 172) ; and they can be grand-mother and grand-daughter (the tales on the Finiste bird, tales 179 180). The young girls or the maidens are always descendants of the baba Yaga - a baba Yaga who herself has sisters. However the baba Yaga is never part of the hero’s family - she is of the family of the wife, of the bride-to-be, of the searched woman. 

However these characters are opposites. Sometimes the opposition is direct: in Ivachko-Bear-cub, the daughter of the baba Yaga wishes to leave the world of her mother, and tells the hero how to kill her. The character of the baba Yaga daughter’s is simple: is she is a child, she will be killed accidentally by her mother, if she is adult, she will have her mother killed. Meanwhile, the characters of Vassilissa the Magic Girl/the princess frog are more complex. They create a wold different from the one of their mother/aunt/grand-mother, a world not relying on the forest and the hunt, but on field and agricultures: they realizes agricultural and domestic chores, which are unusual in the wild and sylvan world they come from, they train and domesticate animals, they build bridges and palaces, through their dance they create civilization or prepare weddings. They do not attack directly the baba Yaga, but they create a new world, and so they wish to leave the archaic world - and thus fight other supernatural beings.

There are however many common points between the Old One and the Young One. The princess of the silver-kingdom in “The three kingdoms”, tale 93, welcomes the hero by saying “Until then I had never seen nor smelled the body of a Russian man, but today one is here before me!” - which are the exact same words the baba Yaga uses in other tales. In “The Two Ivan-sons of soldier”, the story ends when the beautiful maiden turns into a lionness, swells up to monstrous proportions, and devours the two heroes. So the maiden can eat people, just like the baba Yaga... In a variation of “The princess-frog” tale (number 207), the character is indeed the regular frog-princess that can “create from a gesture of her hand, gardens and meadows” - but she has a threatening cannibalism. When she arrives at her mother’s home where the hero is hidden, she says “It smells like a Russian man! If Ivan-tsarevitch was under my hand, I’d rip him to pieces!”. Strangely here it is the mother that moderates her daughter, and advices the hero: the mother/daughter roles are inverted, the daughter fulfilling the role of the ogress, while the mother is civilized. But the hero still ends up figuratively devoured, since the frog, now in love with him, takes him away to her “seventh kingdom”. In the tale “The Water of Youth and the Beautiful Girl”, the titular Beautiful Girl, raped in her sleep by the hero, kills him, then after calming down and finding him to be a pretty boy, she heals the deadly wound with the water of youth-and-life that comes from her hand - the man is resurrected and they marry. So in conclusion, between the two different generations, we find two characters malevolent and benevolent at the same time, two cannibals, two characters tied to nature (be it wild or civilized nature), two characters placing trials on the hero, and whose advice always leads to a wedding.

V) The relationship with the male monster

We saw that the male monster (the dragon, Tchoudo-Youdo, the Tsar of the Water, the devil) is at the same time concerned with devouring and marrying. His second role, as a marriage-driven character, is quite enigmatic when present in the dragon’s character - and to see things a bit clearly, we must look at other male supernatural characters. 

The water monster, the devil, Tchoudo-Youdo all have an unclear physical appearance, but their names reveal their heretical nature. They are called the “Miscreant Tsar”, “Tchoudo-Youdo the Outlaw”, “The Tsar with an unbaptized forehead”, “Satan”, “the devil” or “Hell”. They have a female entourage: they only have daughters, sometimes a sister. The daughter is an essential figure that can even be part of the tale’s title (The Devil and the clever girl, tale 173). But the baba Yaga also appears though this female parentage. In “Tchoudo-Youdo and Vassilissa the Magic One”, tale 172, baba Yaga reveals that Tchoudo-Youdo is her brother. And just like the male monster, the baba Yaga also has sisters (such as in “Finiste-Clear-Falcon”, tale 180). And we also saw earlier that Vassilissa the Magic Girl, who can be the daughter of Tchoudo Youdo, also is regularly the daughter, niece or granddaughter of the baba Yaga (or of the Old Woman of the Forest): we are here in a family. But which type of family are we confronted with? If we study the members of the baba Yaga’s family, we discover the intervention of a “father” or even of two fathers. 

For example, let’s look at “The Tsar of the Water and Vassilissa the Magic Girl”, also known as “The Devil and the clever girl”. This tale is as ancient as it is famous: in the fairytale Aarne-Thompson Index, it is the AT 313. It is found in numerous places in Europe, its most ancient traces date back to Babylon, and the myth of Jason and Medea relies on its structure. It is very present in the oral fairytales of France, and of course in Russia it has numerous rich and archaic versions. The starting scene in the Russian tales is relatively stable: a travelling tsar is thirsty. As he is about to drink from a lake, a monster appears out of the water, holds the tsar’s beard and says he will only let him go if he gives him what he has in his home, without knowing what it is. The tsar, who believes he knows everything, agrees, but in truth he gave up his recently newborn son. The son will only be given when he reaches puberty - this is the motif of the “sell in advance”. However the monster out of the water - the Tsar of the Water - turns out to be the father of Vassilissa the Magical Maiden. So we have a fairytale with two fathers - the father of the hero (Ivan-tsarevitch) and the father of the intended bride, Vassilissa. But we have an anomaly here: the first father, Ivan’s father, didn’t know that he was about to have a child, while the second father, Vassilissa’s father, knew that the first father was about to have a child. As a result it seems that the first father’s isn’t regularly in the presence of his wife, or maybe doesn’t form a true couple with this female partner - he might be a man from a different clan than her. But the father of Vassilissa seems to be from the same clan as Ivan’s mother, since he knows what is happening to her, he knows that she is pregnant. The first father is a new father, an ordinary and biological father, with a very limited power, while the second is a powerful sorcerer, talented when it comes to marrying his daughters - because Vassilissa has variously numbered “sisters”. 

The daughters of the powerful sorcerer can be three, twelve, or seven 77 in the tale 172, or a hundred - and nothing is ever said about their mother, so maybe they are not actually sisters, but cousins, and maybe the tsar of the water is their uncle rather than their father. We can take into account the fact that, even in modern Russian, the wors “brat” and “sestra” mean as much “cousin” as they mean “brother/sister”. So the father of Vassilissa might be her father-uncle, and we would come back to an archaic form of family. The father-uncle is the male leader of a family unit where only girls and wives are taken into account when drawing the bloodlines. The baba Yaga, who is also defined by her descendants, belongs to this clan and, by her role of guardian, by her orders, she “leads” this clan in her own way. It seems thus that Ivan’s marriage is organized by the clan of his mother, while the father of Ivan has no voice to the chapter. So, in the Russian fairytale, there is a very clear clan-structure, of “maternal clan” type, with an old woman, guardian of the order, a male leader, father-uncle, and numerous daughters or sisters, forming the uterine bloodline. 

Maybe we can have more clues if we look at the epic Russian songs - much more misogynistic than the Russian fairytales. For example, in the famous novgorodian song “Sadko”: after a shipwreck, Sadko is at the palace of the sea-king. The sea-king wants to marry him with one of his three hundred girls, but Saint Nicholas appears and tells Sadko: “Choose the last girl that will be presented to you, but do not make love with her, only then will you be able to return to Novgorod”. Through his abstinence, Sadko finds himself the following morning all alone, but back in his hometown. If he had not restrained himself, he would have been absorbed, “drowned” by the maternal clan of the sea-king. We find here again the “swallowing” theme: for the hero, champion of the patriarchy, marrying in a maternal clan means disappearing, be absorbed, be swallowed. 

[luckyluan]

The Professor and The Unicorn, PT III

JAN 16, 2024 - 7:42PM 

Livingston’s analytical glare was fixed on the legendary creature kneeling at his small wooden table whose attention was transfixed on the meager offerings of the doctor’s fridge. 

“You have weird eating habits even for a mortal.” Oswin mumbled through his bites. 

“I’m a doctor.” Livingston said matter-of-factly. “I don’t really have time to cook like a normal person. It’s already cost me a relationship.” 

“My apologies. I did not mean to dredge old memories.” Oswin looked at him sincerely. 

The collar of his navy Howard sweatshirt sagged around Oswin’s neck. The former unicorn was dressed in some of his old clothes. His locs fell, neatly braided, over his shoulder and coiled in his lap. 

“How do you identify?” Livingston asked him. 

“How do you mean identify?” Oswin countered. 

“Are you a man? Or an animal or both? Or are witches considered a different species?” Livingston stopped his brain with a pressing of his lips. 

“I am very much a man.” Oswin explained. “I am also a unicorn—or an animal—as you call it. I am also a witch. Witches are mortals with great power, but mortals nonetheless.” 

“But you contradict yourself! You just said witches are mortals but that clearly is not the case you are—as far as i knew it—a myth! You’re a unicorn and a witch. Both cannot be true!" Livingston concluded. 

Oswin’s shoulders shook as he let out a bellowing laugh.

“You humans are so judgmental. How dare you tell me what I can and cannot be? Or anyone for that matter. “I am all. I am also each one. I exist as three beings simultaneously. Each has its place.” 

“That...actually makes sense.” Livingston conceded.  

“Live a few more centuries and the world you think you know will open for you.”  

Oswin touched Livingston’s hand. His warm proximity sent Livingston’s hands into a tight clasp and Oswin tilted his head at him. 

“You are afraid.” 

“I’m not afraid of anything. I let a unicorn in my house.” Livingston spat. 

“You are afraid, Mr. Crane.” Oswin started. “Of being touched...of being discovered. It’s why you bury yourself in your studies.” 

“I don’t need a psychoanalysis. I’m the doctor.”  

“I do not believe it is a doctor you need.” Oswin said with a grin. 

Livingston pressed his lips into a fine line as Oswin’s playful gaze tickled his skin. The unicorn was right after all, but that was not something Livingston was comfortable admitting. He prided himself on being consistently correct. He was not about to admit a deep fault for a stranger’s enjoyment even if he was the most handsome creature he would ever behold. 

[miirshroom]

Elden Ring, Dark Souls, and the Sun God

Dissecting the names of FromSoft characters and locations for amusing results. "Ra" is an Egyptian god of the sun, and the use of this two letter word string shows up in some interesting contexts in FromSoftware's naming conventions. Heavy use of Wikipedia and Wiktionary.

Radagon = Ra Dagon

Dagon was a Syrian god of prosperity worshiped at the middle Euphrates who is sometimes incorrectly identified as a god of grain/agriculture (i.e. is actually grain AND a lot more). Dagon is also a name co-opted by Lovecraft for the fish deity in 'Shadow over Innsmouth'. It is thus implied that "Radagon" is a syncretization of Ra and Dagon, similar to how Ra was syncretized with Horus as Ra-Horakhty or with Amun as Amun-Ra during certain periods of history in Egypt.

Radahn = Ra Dahn (Ra, ruler of the world)

Dahn is an English form of the Scottish name "Domhnall" meaning Ruler of the World. There is an NPC in Dark Souls named 'Domhnall of Zena'.

Ranni = Ra nni = Rán Ni

Incredibly, there is at least one use of "nni" as an alternate spelling of a Sicilian word meaning "us" for the overall phrase "Ra us" (or with better grammar "We are Ra"). Which makes sense in context since Ranni's Age of Stars is about becoming a star and the sun is a star. Rán is Norse goddess of the sea, who catches men in her net and drowns them (and once loaned her net to Loki - who took credit for inventing the net). "Ni" can mean many things - in Welsh alone it means both "us/we" AND "not". In German/Norse it also means "not". "Ni" means "two" or "towards" in Japanese and "two" in Atong Indian. As a sum total, a name expressing a lot of duality.

In the languages of Malaysia and New Guinea "ni" means "water". It is also an abbreviation for elemental Nickel.

Raya Lucaria = Ra Ya Lucaria (Festival of the Grove in affirmation of Ra)

This one has layers. There's the interpretation above where "Lucaria" is a straightforward term borrowed from a Roman festival and "ya" or "ja" is a common word for "yes" in multiple languages. It is not farfetched to think that the institution originally had closer ties to the sun than the moon - there is a sun motif in the Debate Parlour, on elevators, and on the Telescope item. The Japanese Kanji blur together the words "Raya Lucaria" such that レアル` includes Rayalu and is pronounced more like "real". Despite there being kanji available for the "ya" sound.

One meaning of や (ya) is a specific nuance of "and", as in "the Academy of Ra and the Festival of the Grove, among other things". Another is the hiragana spelling of 矢, which can mean "arrow" or "wedge used to break hard objects such as wood or stone" - causing Raya to mean "Ra's arrow" or "Ra's axe/chisel", perhaps. Additional hiragana uses include 屋 (house), 八 (eight), and 輻 (spoke of a wheel), which has a great synergy with something I have been working with for a while. This being that Radagon's time at Raya Lucaria began during the eighth house of a zodiac wheel that describes the history of the Lands Between. Likely Scorpio, if the start point is considered to be Aries, although it could also be Leo from a start point of Capricorn (more on that in further names to follow).

Siofra = Siof Ra (Sheep Ra)

Acknowledging that that "síofra" is also an entire word meaning "changeling", "elf", or "weakling" in Irish, "siöf" is a word meaning "sheep" in the nearly extinct Germanic language of Vilamovian.

Yura = Yu Ra

"you Ra" is funny, but not very helpful. However, Yu the Great was a Chinese sage-king (more of a mythical figure) known for a great feat of flood control somewhere around 3000-2000 BCE

Eleonora = Ele Ono Ra

"Ele" means "firewood" in Abure - a language native to the Ivory Coast. In Finnish it means "gesture" or "sign". It is "eel" in Middle English and "oil" in Old English, and "she" or "wing" in Old French. Also has some associations with "hand" or "foreign person" or "country" in Turkish.

"Ono" is Czech for "id" of psychoanalysis (so called "the impulsive (and unconscious) part of [a] psyche that responds directly and immediately to basic urges, needs, and desires"). And in Japanese can mean "ax" or a pronoun for "oneself", or as a name means "small field". It is also proto-polynesian for the number 6.

So "Ele Ono Ra" is the "female sign of the unconscious desires of Ra" and also has connotations of firewood doused in oil.

Another potential reading is "E Leo No Ra". "E" is a very flexible sound that variously means "and", "the", "of", etc. It is the 5th letter of the Latin alphabet as "Leo" would be the 5th sign of a zodiac beginning with Aries. The full phrase might be "And Leo (5th sign of zodiac) not of the sun". Which - taken in combination with the use of "6" (matching 6th zodiac sign of Virgo) in the first interpretation - this gets into the really complicated thing where the wheel of Vedic astrology based on the position of the moon lags behind Western (i.e. Greek) astrology.

Zorayas = Zo Ra Yas

There are many ways to break up this name - but for simplicity I focus on the "Ra" version. "Zo" is a language spoken in Myanmar and India, but also the prefix "zo-" generally means "of or relating to animals" (derived from Greek). The most likely meaning of "Yas" in context is the Turkish "mourning" which was derived from proto-Turkish "damage, loss; shame". Therefore an overall meaning something like "animal of Ra's mourning".

In the Aleut (Alaskan area) language "Yas" can mean "reef of rocks at or near surface", and in Navajo it is a word for wet snow.

There are notable uses of "Ra" as a suffix showing up in Dark Souls. It is a game with the catchphrase "Praise the sun", afterall.

[DS1 & DS3] Astora = Asto Ra (Assisting Ra)

"Asto" is Latin and means "assist" or "assisting". Notable characters from Astora: Blacksmith Andre, Solaire, Fire keeper Anastacia, Knight Oscar, Undead Prince Ricard, Anri of Astora. All appear in DS1 except Anri who appears in DS3.

Anri is an anagram of "Rani" which is rather similar to "Ranni" and yet as demonstrated above there would be a significant difference between the declarative "Rán, i", and the more "yes, but also no" nature of "Rán ni".

[DS3] Shira = Shi Ra (Temporarily channeling the spirit of the deceased Ra)

"Shi" has meanings associated with death in both Chinese and Japanese. The Chinese version of "shi" is a "ceremonial 'personator' who represented a dead relative during ancient Chinese ancestral sacrifices". These are ceremonies with food and drink where the living worship the dead and the dead bless the living. On the other hand, there are a lot of Chinese kanji that are pronounced with "shi" with different inflections - could be that any of those is relevant.

[DS2] Nashandra = Nash and Ra (By the Ash Tree and Ra)

Could be a play on words here of "Ashen" tree, considering that the player character of the following game (DS3) is called "Ashen One".

[DS1] Capra = Cap Ra

"Cap" is an abbreviation derived from "captain". It is also the abbreviation of "Capricorn" - which is the chronological start of the zodiac theme used in most of FromSoft worldbuilding, as indicated in Armored Core V. The Capra demon is a humanoid with a bull head, which resembles Mnevis, the black bull god who was worshiped in Heliopolis and later assimilated as the "personality of Ra".

[DS1] Ciaran = Cía Rán = Ciar An

It's a Ra adjacent name. The meaning of "Cía Rán" would be something like "who is Rán?", where "cía" is from Old Irish. "Ciar" is a Spanish word meaning "to reverse the direction (of a boat)". "An" has entirely too many meanings, though a common one in French and other languages is "year". Which makes sense in the context that this this character is associated with the Artorius DLC about travelling to the past and the whole Souls series of games is about the Argo Navis sailing in search of the Golden Fleece (the story tied to zodiac Aries).

[androgynosaurus]

Thinking about The Sounds You Make Part 3 already and maybe considering doing it from Murph's POV? Might be a bit odd considering the first two were Steve's POV but I really want to get in their head as well about how they feel about all this intimacy and tenderness and vulnerability. It might be better suited to being it's own separate fic and about a different day/scenario tbh because I still have things to say about what's going through Steve's head too

Basically I have a lot to say!! About both of them!! I could write a whole psychoanalysis essay about these two and their emotional worries/hangups at this early stage in their relationship but I also want people to be able to pick it up from the text itself; I tried to pepper in some stuff hinting at their issues, but idk how clear it was. There will be a bit more in part 3 before Steve gets the chance to exact his revenge; in this house characters Talk about their Feelings

[godsandcrows]

high and thinking about how for all of my [abusive] parent's shortcomings, they did not screen or restrict what i read in any way. from a very young age i picked what i read and was never told no. i got in trouble at school and a call home in first grade when i was caught in the 6th grade only section of the library, checking to see if they had the next in the series i was reading, and there was no punishment just a trip to "normes and boble" (Barnes and Noble).

thinking about this as i reread Kushiel's Dart by Jacqueline Carey for the first time in at least 10 years. it's 900 pages long and i had read it 8 times by the time i finished high school. it's one of the very few books that has survived on my person through two home disclosures before 18. i got it when the bookstore in the mall by grammie's house was going out of business and everything was on sale. i figured out when i was reading it at school to keep the cover face *down* on my desk pretty quick.

terrified for the personal psychoanalysis to come. but considering buying a second copy to flag on, because this one is like an aged sacred text with wafer thin pages at this point.

[leogichidaa]

Psychoanalysis Sunday #31

Non-magical AU where Regulus is put in therapy with a psychoanalyst

Part 1 | Previous | Next

"How was the party?" Dr. Robertson asks.

Regulus considers the question for a moment, reaching for a diplomatic response out of instinct. "It could have been worse."

"What could have been better?" Dr. Robertson asks.

Regulus sighs. "It was fine, really. I had an excellent time with Alex. He taught me all sorts of interesting things about snakes. He has a whole room full of them in his house. They are fascinating creatures."

The analyst raises his eyebrows. "You spent the party talking about snakes with Alex."

"Yes. Is that--why are you looking at me like that?" Regulus asks, worried and annoyed in equal measure. Surely there is nothing unusual about engaging in amateur ophiology. Even the most pedestrian of Regulus' peers thought snakes were cool.

"Like what?"

"Like I have said something strange. You said it was a good thing to have common interests," Regulus says, narrowing his eyes accusatorily. "If I have done something wrong then it was your advice that was wrong."

"Do you feel that you have done something wrong?"

Regulus stares at the analyst, incredulous. "Well, I didn't until you looked at me like I was an alien for doing something perfectly ordinary."

"Things that seem ordinary often have deeper meaning," the analyst muses. "And I imagine your anxiety over doing something wrong is not merely about my reaction."

Regulus kicks his chair leg moodily. "Of course not. You are not to blame for anything, are you? It is all my fault for being a head case."

Dr. Robertson contemplates Regulus in silence for a moment and Regulus stares back at him defiantly. Finally, the analyst says, "You decided to spend time with Alex sharing a common interest based on what I said to you last week. You felt it went well until I reacted in a way that you interpreted that as disapproval. Following my advice meant that you have me to blame instead of yourself. This is precisely what we talked about recently, your pattern of following the wishes of others and then blaming them when things go wrong."

Regulus frowns. "So you are saying that I should not have listened to you, is that it? What am I here for then?"

"That is not what I am saying, Regulus. Whether you listen to me or you don't, whether you follow your family's wishes or you do not is ultimately your choice. I know that you are still young and many things in your life are out of your control, but you have the power to make some decisions. Choosing not to choose is still a choice."

Regulus' head spins a bit as he tries to wrap his head around what the analyst is telling him. Unable to formulate a response to the analyst's comments on his agency, he settles on a more manageable subject: judgement.

"You said I interpreted your reaction as disapproval," Regulus says. "Was it not?"

"Does it matter if it was?"

"Yes, of course."

"Why?"

"I want to know if I have done something awful or embarrassing."

"I was not there, Regulus. And it is not me that you were attempting to befriend. What weight does my opinion hold?"

Regulus pauses. "I trust your opinion."

"I would prefer you trust your own."

Regulus is startled by this response. He cannot remember anyone encouraging him to trust his own opinion before. Sirius was always going on about how Regulus ought to think for himself, but then when Regulus gave Sirius his honest opinion Sirius never actually wanted it. And his parents were more likely to tell him to keep his frivolous opinions to himself and trust in those older and wiser than him.

Now someone older and wiser than him is telling him to trust himself. He is not sure what to make of that.

"It was not disapproval, though," Dr. Robertson adds. "Curiosity, but not disapproval. I am glad that you had a good time with Alex."

"Thank you," Regulus says, his mind still racing. "It was a great party, until Alex and Evan decided to try to summon a demon using an occult ritual. One of the neighborhood children got badly injured. I don't imagine I will be seeing Alex anytime soon anyway. So I suppose it does not matter if I did something embarrassing."

Regulus sighs and looks up at Dr. Robertson mournfully. "We did not even get to see a demon."

"How disappointing," Dr. Robertson says with a barely concealed smile.

"Quite," Regulus agrees.

[fabien-euskadi]

1, 10, 19, 32 ☺️

1) describe yourself through the eyes of a stranger? Probably, at first glance, the hypothetical stranger will find me quite weird and particularly ugly. After some time, the stranger may start to get used to my weirdness and may even call it “eccentricity”. Regarding my unattractiveness, I fear that the opinion will remain the same, but, at least, that is a point of view that matches mine, so…

10) what’s one book you’d suggest every person should read? Above everything, I would suggest you to read in first place. And there are so many books that I could suggest you, but… I am going to suggest a book that I have in first place of my to-read list: Machado de Assis’ “Dom Casmurro”, considered to be one of the definitive masterpieces of the Brazilian literature. As soon as I clear the PhD papers, I am going to devour it page by page. And yes, I have suggested you a book that I still haven’t read.

19) what was the last concept that inspired you? Let’s say that “The Poetics of Space” (“La Poétique de l'Espace”, in French), by Gaston Bachelard, had a huge influence on me. The concept of mixing Architecture, Phenomenology and Psychoanalysis (he quotes Carl Jung a few times and that influence can be seen in the way he analyses our childhood homes) is rather fascinating, especially, when Bachelard decides to analyse how several famous writers and poets imagined their dream homes – that part of the book made me realize why, a few years ago, I made the ill-judged decision of moving alone to the countryside.

32) favourite piece of memorabilia you own? Where I am staying currently, there are no pieces of memorabilia, other than a small bust of Sophocles that someone who is very dear to me bought me in Greece a few years ago - I am not sure if he bought it in Athens, in Rhodes or in Santorini, but it was in one of those (I think it was in Rhodes). Recently, I brought that small bust to this house, making it the only object here that is 100 percent decorative… although the fact that Sophocles is here to inspire my writings (academic, professional and literary) makes the role of this bust something other than strictly decorative. And it's also a souvenir from a previous phase of my life.

At my mother’s place or at my ex’s flat, I may have other pieces of memorabilia - usually, from places that I actually visited -, but I am giving them all to someone who is a huge fan of collection of souvenirs and memorabilia dfrom foreign countries.

Thank you very much - and I hope this new phase of your life (you know what I mean) is going wonderfully well.

[feyd-meowtha]

Ao3 Fic Meme

I was tagged by @joeyalohadream thank you!

Rules: go to your AO3 account and find the following:

1. What ratings do you write most of your fics under?

Mature (3)

Explicit (5)

2. What are your top three fandoms?

Only have 3 lol

Masters of the Air (4)

Dune (2)

My Own Private Idaho (1)

(used to have an unfinished Fear and Hunger fic up but i wasn't gonna finish it so it was stressing me out and I deleted it, maybe I'll put it back up one day idk)

3. What is the top character you write about?

Curtis Biddick (4)

Ken Lemmons (4)

John Clarence Egan (4)

4. What are your top three pairings?

Gale "Buck" Cleven/John Clarence "Bucky" Egan (4)

Paul Atreides/Feyd-Rautha Harkonnen (2)

Curtis Biddick/Ken Lemmons (2)

5. What are the top three additional tags

Recreational Drug Use (5) (lol)

Angst (4)

Hurt/Comfort (4)

6. Does any of this surprise you

Not really considering I wrote all of these in the last couple years so I remember it p well? Though the stats themselves are a little misleading cus I've still written far more words of Dune fic than MOTA. Those tags kinda outed me as a terrible fiend and it did make me realise that... yeah, people do kinda be doing drugs in everything I write. I wonder why that could be... It's almost as if the art you create is always a reflection of the self. Wild.

As for ratings and stuff, its a weird one because I don't actually consider myself a huge fan of like smut for smuts sake (for someone who writes mostly E rated fic) but what I am a fan of is character analysis and psychology, something which is very well served by writing smut/darker relationships so that is why that is the way it is I gues. The explicit stuff is kinda secondary to the psychoanalysis, but still fun don't get it twisted. (this also applies a lot less to Our House where everything is a lot chiller and funner and most characters don't have like mountains of PTSD)

As for the choices of pairings and the other tags, it's pretty clear I'm a slut for angst and in the case of MOPI and MOTA - a sad blonde man x loud gregarious brunette dynamic.

I tag @whirlpool-blogs, @blixabargelds, @weimarweekly, @swifty-fox and @london-cowboy. Also anyone else who fancies it!

[gautam-101]

Astrology and Psychology: Bridging the Mind-Body Connection

Introduction

Astrology and psychology are often viewed as separate disciplines, each with its own methods and principles. Astrology, rooted in ancient traditions, explores the influence of celestial bodies on human lives, while psychology, a relatively modern science, delves into the intricacies of the human mind and behavior. However, a fascinating synergy exists between these two fields. By integrating astrology and psychology, we can gain deeper insights into the mind-body connection and understand how cosmic influences shape our psychological patterns and overall well-being.

Also read - Exploring Ancient Wisdom of Vedic Astrology and Palmistry 

Astrology: A Cosmic Blueprint

Astrology is based on the belief that the positions and movements of celestial bodies—such as planets and stars—affect human lives and natural phenomena. The birth chart, or natal chart, is a map of the sky at the moment of one's birth and serves as a personal cosmic blueprint. It reveals the positions of the sun, moon, and planets across the twelve zodiac signs and twelve astrological houses. Each planet and its placement represent different aspects of an individual's personality, emotions, and life experiences.

For instance, the sun sign signifies one's core identity and ego, while the moon sign reflects emotions and subconscious patterns. The positions of Mercury, Venus, Mars, and other planets provide further insights into communication styles, relationships, desires, and drives. This comprehensive map offers a holistic view of an individual's psyche and potential life path.

Chat here: Chat with astrologer online

Psychology: The Study of the Mind

Psychology, the scientific study of the mind and behavior, explores various aspects of human cognition, emotion, and development. It encompasses diverse theories and approaches, from psychoanalysis and behaviorism to humanistic and cognitive psychology. Psychologists seek to understand how individuals perceive, think, feel, and act, both in everyday situations and under stress.

The connection between astrology and psychology becomes apparent when we consider that both fields aim to understand human nature and personal growth. While psychology uses empirical methods to study mental processes and behaviors, astrology provides a symbolic language that can offer unique insights into these same areas.

Bridging Astrology and Psychology

One way to bridge astrology and psychology is through the lens of archetypes and the collective unconscious, concepts popularized by the renowned psychologist Carl Jung. Jung proposed that archetypes are universal symbols and themes that reside in the collective unconscious and influence our behaviors and experiences. Many of these archetypes correspond to astrological symbols and planetary energies.

For example, the archetype of the "Hero" is often associated with the planet Mars, representing courage, action, and assertiveness. The "Lover" archetype aligns with Venus, symbolizing love, beauty, and harmony. By understanding these archetypal energies in our birth chart, we can gain insights into our psychological patterns and how to harness these energies for personal growth.

Another approach is to use astrology as a tool for therapeutic self-reflection. By examining our birth chart, we can identify potential psychological challenges and strengths. For instance, challenging aspects between planets (such as squares and oppositions) may indicate inner conflicts or areas requiring personal development. Recognizing these patterns allows individuals to work consciously on resolving inner tensions and fostering a more balanced and harmonious psyche.

Conclusion

Astrology and psychology, when integrated, offer a powerful framework for understanding the mind-body connection. Astrology provides a cosmic perspective on our psychological makeup, revealing the interplay between celestial influences and our inner world. By bridging these two fields, we can gain profound insights into our personality, behaviors, and potential for growth. Embracing both the scientific rigor of psychology and the symbolic richness of astrology, we embark on a journey of self-discovery that enhances our well-being and enriches our lives.

Have any questions? Speak with an astrologer: Download the App Now

[orbis-tertius]

In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there.

The spatial field of a dérive may be precisely delimited or vague, depending on whether the goal is to study a terrain or to emotionally disorient oneself.

Our loose lifestyle and even certain amusements considered dubious that have always been enjoyed among our entourage -- slipping by night into houses undergoing demolition, hitchhiking nonstop and without destination through Paris during a transportation strike in the name of adding to the confusion, wandering in subterranean catacombs forbidden to the public, etc. -- are expressions of a more general sensibility which is no different from that of the dérive.

Guy Debord, "Theory of the Dérive" in Internationale Situationniste #2, (1958)

The dérive (with its flow of acts, its gestures, its strolls, its encounters) was to the totality exactly what psychoanalysis (in the best sense) is to language. Let yourself go with the flow of words, says the psychoanalyst. He listens, until the moment when he rejects or modifies (one could say detourns) a word, an expression or a definition. The dérive is certainly a technique, almost a therapeutic one. But just as analysis unaccompanied with anything else is almost always contraindicated, so continual dériving is dangerous to the extent that the individual, having gone too far (not without bases, but…) without defenses, is threatened with explosion, dissolution, dissociation, disintegration.

Ivan Chtcheglov, "Letter from Afar" in Internationale Situationniste #9 (1964)