#slavic beliefs

[royalfilm]

If anyone has resources on upper Silesian folk magic or folk beliefs, I am desperate for some! They are hard to come by in English but ones that can be translated would be amazing

[landfilloftrash]

earlier beliefs had the butterfly symbolizing a departed soul

I figure him and his beloved’s soul might have had a few instances like this

[oysterie]

wait rats kings are something from real life??

[szczekaczz]

i have to learn more about belarus

[ayakashibackstreet]

It's funny how my dad's side of the family deeply believes that if you don't get that One Specific Wedding Band for your reception, your marriage is going to fall apart.

[writingwithcolor]

WritingWithColor FAQ: Why do I need to be so specific with my character’s identity?

We often receive this question from people whose asks have been rejected because the terms they used were not helpful. Consider racial/ethnic terms associated with regions like:

“Native American” / “Indigenous”

“Pacific Islander” / “Pasifika”

“Asian”

“African”

“Hispanic” / “Latin American” / “Latino/e/x”

“Middle Eastern”

“Slavic” / “Siberian”

“Nordic”

These are common but overly broad demographic terms meant to be used by governments for convenience and record-keeping purposes. In other contexts, these terms cover far too wide of a range of nationalities, cultures, and ethnicities to be informative. For example, while “Native American” is often used as catch-all term for every Native nation across the US, this encompasses a very large continent’s worth of cultural variety. You could not accurately portray a Native person unless you knew their specific tribe’s stereotypes, beliefs, customs, and day to day lives.

These terms can also be relative or vague when used alone. “Indigenous” is even broader, and covers any native inhabitant of a region anywhere in the globe, having the potential to cause confusion if it is used to refer to Native American identities.

---

This Q&A is an excerpt from our General FAQ for Newcomers, which can be found in our new Masterpost of rules and FAQs. If you're looking to send us an ask about your own writing, go there first!

-Writing With Color

[zhimaqiu]

yeehaw, let's become a myth my slav kin. we could as well close our borders and act like elves

this tweet made me want to NOT have a phone so I didn't have to read this

[lilshoots]

Finished another wip, you could say :P

Context:

In Ukraine, you give a buqet with an even number of flowers only to those who passed away. (the tradition dates beck to the slavic pagan beliefs. Even numbers were the personification of evil, and the even number of flowers meant the end of the life cycle. Therefore, it brought troubles to the family and death.)

My younger self was so shocked and horrified watching foreign movies in which the guy gave the girl he likes a buqet of paired flowers. Like, why would you do this? Do you want her dead??? That's six flowers. Just add one more. Wait... Why are you giving these 4 flowers to your mother??

So, yeah. I thought it would blend well into the Senju/Uchiha cultural differences

P.S. Tobirama clearly knew about these cultural differences. He just believed in Madara's brain too much, thinking he knew them too. He just thought Madara gave him these frowers to mess with him:P

[hayatheauthor]

How To Write Vampires With An Original Twist 

Mythical creatures are an essential part of the fictional scene, but the same creatures have been used so many times that these creatures now often seem redundant and boring in fiction. This is why I've started a new blog series: How To Create Original Mythical Creatures. I'm kicking off this series with vampires!

Join me as we dive into the world of vampires, from their mythical beginnings to their modern-day interpretations, and learn how to write them effectively in your own narratives.

Origins of Vampires

Vampires have a rich and diverse history rooted in ancient folklore and legends. Across various cultures and civilizations, tales of bloodsucking creatures have emerged, each with unique characteristics and behaviors.

One of the earliest known vampire myths comes from ancient Mesopotamia, where stories of blood-drinking demons known as Lilitu or Lamashtu date back to around 3000 BCE. These entities were believed to prey on humans, particularly targeting children and pregnant women.

In ancient Greece, the Lamia was a mythical creature often depicted as a female vampire who lured and devoured children. Similarly, in Roman mythology, the Strix or Strigoi were vampiric entities that fed on blood and flesh.

Moving forward in history, Slavic folklore introduced the concept of the Upyr, a vampire-like creature that rose from the dead to feed on the living. These early depictions of vampires often portrayed them as revenants or undead beings with a thirst for human blood.

Modern-Day Vampires: Where Were They Originated? 

The modern concept of vampires, as we commonly know them today, took shape during the European Middle Ages and the Renaissance. Legends of vampires emerged in Eastern Europe, with notable figures like Vlad the Impaler contributing to the folklore. Vlad's reputation for cruelty and his association with impaling enemies on stakes led to the creation of the vampire archetype, inspiring Bram Stoker's iconic character, Count Dracula.

From ancient Mesopotamia to medieval Europe, vampire lore has evolved and adapted, weaving its way into popular culture and literature. Understanding the origins of vampires provides writers with a rich tapestry of mythology to draw upon when crafting their own bloodsucking creatures.

I wanted to go into more detail regarding the Lamashtu and Lamia since they’re not as well known as their Slavic and European counterparts, but unfortunately, that would deviate from the purpose of this blog. 

The Evolution Of Vampiric Appearances 

Before we proceed with this section, it's crucial to clarify that the mythical creatures and beings discussed in this blog are not direct representations of ancient vampires. Instead, they serve as inspirations for the concept of vampires and share certain attributes with our modern-day depictions, including blood-feeding, pale skin, human-like appearance with some animalistic features, and so on.

Vampiric Creatures In Mythology

In ancient mythology, vampiric entities were not always depicted as the suave, charming figures we see in modern vampire tales. Instead, they often embodied primal fears and monstrous traits.

Lamia: In Greek mythology, Lamia was a terrifying creature depicted as a woman with a serpentine lower body. She was known for her insatiable hunger for children, often depicted as a child-eating monster. Lamia's appearance combined elements of human and serpent, emphasizing her monstrous nature and predatory instincts.

Lamashtu: In Mesopotamian mythology, Lamashtu was a malevolent demon who preyed on pregnant women and newborns. She was depicted with a fearsome appearance, often described as having the head of a lion, the body of a donkey, and bird-like talons. Lamashtu's grotesque features and destructive tendencies reflected ancient beliefs about the dangers of childbirth and infancy.

Lilitu: In Mesopotamian and Jewish folklore, Lilitu or Lilith was often associated with nocturnal demons or spirits. She was depicted as a seductive, winged demoness who preyed on men and newborns. Lilitu's appearance varied across different myths but often included features like wings, long hair, and sometimes talons, emphasizing her otherworldly and dangerous nature.

Strix: In Roman and Greek mythology, the Strix was a bird-like creature or vampiric owl associated with dark omens and death. It was believed to be a shape-shifting creature that could transform into a woman or an owl. The Strix's appearance combined avian and human features, instilling fear and dread in those who encountered it.

Strigoi and Upyr: In Eastern European folklore, Strigoi and Upyr were blood-sucking undead creatures similar to modern-day vampires. Strigoi were believed to be restless spirits or revenants that returned from the dead to torment the living. Upyr, on the other hand, were vampire-like beings with sharp fangs and a penchant for drinking blood. Both creatures were depicted as pale, gaunt, and often with elongated canines, reflecting their predatory and undead nature.

Medieval Depictions: Shift in Appearance

During medieval times, the depiction of blood-sucking mythological creatures underwent a transformation, shifting from monstrous and terrifying to more humanoid and relatable appearances. This change in portrayal can be seen in various aspects of their physical features:

Teeth: Originally depicted with long, sharp fangs or talons for blood-drinking, medieval depictions often featured more subtle fang-like teeth or no visible teeth at all, aligning with the concept of vampires being able to blend in with humans.

Skin: While ancient vampires were often described as monstrous and otherworldly, medieval vampires were portrayed with paler skin to signify their undead nature but without extreme deformities or monstrous features.

Appearance: Medieval vampires were often depicted as more human-like in appearance, with regular clothing and a less monstrous demeanour. This shift allowed for more nuanced storytelling and exploration of themes like temptation, desire, and the struggle between humanity and monstrosity. This is also what birthed the romanticization of vampires. 

Mythological Vampire vs Modern-Day Vampire

Mythological vampires, rooted in ancient folklore and mythology, were often depicted as malevolent spirits or creatures with supernatural powers. These creatures varied widely across different cultures, from the Lamia and Lilitu in Mesopotamian mythology to the Strix in Roman and Greek folklore, and the Upyr in Slavic tales.

These ancient vampires were not always the suave, charismatic beings we see in modern media. Instead, they were often portrayed as terrifying and monstrous, with features that reflected their otherworldly nature. For example, the Lamia was described as a demonic woman with the ability to transform into a serpent, while the Lilitu were associated with storm demons and fertility spirits.

In contrast, modern-day vampires, especially those popularized in literature and film, have undergone significant transformation. They are often depicted as sophisticated and alluring, with a penchant for romance and drama. Authors and filmmakers have humanized vampires, giving them complex personalities, tragic backstories, and even moral dilemmas.

While modern vampires still retain some traditional attributes such as a need for blood and sensitivity to sunlight, their portrayal has evolved to include a wide range of characteristics and abilities. This shift has allowed for more diverse and nuanced storytelling, exploring themes of immortality, love, redemption, and the eternal struggle between good and evil.

Which Option Is Better For Your Novel? 

When deciding which type of vampire to incorporate into your story, consider the tone and themes you wish to explore. Mythological vampires offer a darker and more primal essence, rooted in ancient fears and superstitions. On the other hand, modern-day vampires provide a canvas for exploring human emotions, relationships, and societal issues through a supernatural lens.

Ultimately, the choice between mythological and modern vampires depends on the narrative direction and atmosphere you want to create. Both types offer unique storytelling opportunities, allowing you to craft captivating tales of mystery, romance, horror, or even philosophical introspection.

Research and Resources

Writing about mythical creatures like vampires requires a solid understanding of folklore, mythology, and literary traditions. Here are some resources and research methods to help you delve into the world of vampires and other mythical beings:

Books and Literature

Start by exploring classic works of literature that feature vampires, such as Bram Stoker's "Dracula," Anne Rice's "The Vampire Chronicles," and Stephenie Meyer's "Twilight" series. These novels not only showcase different interpretations of vampires but also delve into the cultural and historical contexts surrounding these creatures.

Mythology and Folklore

Dive into ancient myths and folklore from various cultures to uncover the origins of vampire legends. Look into Mesopotamian, Greek, Roman, Slavic, and other mythologies to discover different vampire-like entities and their characteristics.

Research Journals and Articles

Academic journals and articles can provide valuable insights into the evolution of vampire folklore, the psychological aspects of vampirism, and the cultural impact of vampire mythology. Explore journals in folklore studies, literary analysis, and cultural anthropology for in-depth information.

Online Resources

Utilize online platforms such as mythology databases, folklore websites, and literary forums to gather information and engage in discussions about vampires. Websites like The Vampire Library, Vampire Empire, and Vampire Rave offer a wealth of resources for vampire enthusiasts and writers.

Historical Research

Delve into historical records, archival documents, and historical accounts related to vampire hysteria, vampire burials, and vampire folklore in different regions. Understanding the historical context can add authenticity to your portrayal of vampires.

Interviews and Expert Opinions

Consider reaching out to folklore experts, historians, and scholars specializing in vampire mythology for interviews or consultations. Their insights and expertise can provide valuable perspectives on vampire lore and storytelling.

Creative Exploration

Don't hesitate to let your imagination roam while exploring vampire mythology. Experiment with creating your own vampire mythology, incorporating unique traits, powers, and origin stories for your vampires.

By combining thorough research with creative exploration, you can develop rich and compelling portrayals of vampires in your writing. Remember to stay open to diverse interpretations and adaptations of vampire folklore, allowing room for innovation and originality in your storytelling.

I hope this blog on How To Write Vampires With An Original Twist will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[thetepes]

"Fuck it, I'm going to go back to calling people Nazis if they look at me funny." - 4:20 is the timestamp.

She is such a fascinating streamer, no? Dead air, no music, bringing up a cosplayer who killed themselves over accusations after saying it's perfectly fine and good to make flippant accusations. Telling her viewers to mass report Ant's videos, something which youtube found her so inert and completely fucking unable to meaningfully achieve they automatically considered his report solved because there was never any meaningful threat to begin with.

Anyway, it means nothing. This accusation. These words. Nothing, but meaningless piss from a person who so loudly declares their victimhood and cries about their status as a poc, a transwoman, a disabled person who lives off government assistance.

These things that all of which would have made you a victim of this meaningless regime to you. Let's look at who they targeted!

Black people

Civilians accused of disobedience, resistance, or partisan activity

Gay men, bisexuals, and others accused of deviant sexual behavior

 whose religious beliefs conflicted with Nazi ideology, such as Jehovah’s Witnesses

people with disabilities 

Slavic People

Political opponents and dissenters in Germany such as communists

Roma and other people derogatorily labeled as “Gypsies” 

Social outsiders in Germany derogatorily labeled as “asocials” or “professional criminals”

Soviet Prisoners of War. 

Hm, would you look at that? It seems we both meet the measure of those who would be eradicated. We would be victims of Nazis, Lily. Both of us.

Most estimates place the total number of deaths during the Second World War at around 70-85 million people. Approximately 17 million of these deaths were due to crimes against humanity carried out by the Nazi regime in Europe. In comparison to the millions of deaths that took place through conflict, famine, or disease, these 17 million stand out due to the reasoning behind them, along with the systematic nature and scale in which they were carried out.

They were 17 millions of us. A number not one of us can begin to fathom the actual scale of.

So why do only I know the weight of this between us, Lily? Are you really so disconnected from what you are that that multi generation eradicating horror is something you can't comprehend? Nazi isn't some flighty term like Republican that can mean anything from a out of touch grandma who thinks a house can still be bought for 25k to a man holding a tiki torch saying we should nuke downtown Atlanta. Nazis are one thing. They are the thing I struggle to describe as people, but they were and are people and we must remember the great evil people are capable of.

These are not the same thing. You can't just fling Nazi out like it's meaningless. To do so demeans not just the victims, but people still living. You belittle us. You belittle yourself. When you reduce Nazi to a buzzword you take away the sheer magnitude of the violence and loss they caused. Nazi is a word with meaning. It should hurt to say because of how heavy it is.

Have some pride. Have some dignity. Some grace. Have some respect for our lost kin and those that would have been our friends, for the strangers that would have been connected to us by the single thread of this group's hatred.

Give that word it's meaning.

This part is for all of us who have grown too casual with our language, not just her,

Stop calling people Nazis unless they are. Nazis aren't fairytale creatures or monsters under the bed. They're human. They're your brother, your father, your cousin, your next door neighbor. That's what's so scary about them. They're just people. Hateful people. They look like you and me. Look at what a Nazi is. Look at their beliefs. Look at what they did. Memorize it. We all must look even though it hurts because we need to be able to identify them and half of that is giving that word weight so when we see the danger we can name it. For our own safety.

It's time to demand better. It's time to have meaning. It's time to use our words and use them accurately.

[wilddogsdivorce]

EVERYTHING WENT VERY WELL!! and we did some errands too, on top of the meeting :D

going to my first library meeting after the move while feeling physically unwell. wish me luck

[skaldish]

What is Norse Heathenry?

Norse Heathenry is a contemporary pagan spirituality derived from the beliefs, customs, superstitions, and folklore of the pre-Christian Norse people. It is one of a few different kinds of Heathenries, which include Slavic Heathenry and Teutonic (Germanic) Heathenry.

The word "heathen" means "of the heaths." However, it's not a word the Old norse people themselves used. They didn't have a word for their spiritual belief system, as they didn't distinguish this from all other aspects of their lives. Rather, "Heathen" was coined by Christian writers to refer to Scandinavian pagans (this is also why it's sometimes used interchangeably with the word "heretic").

Nowadays, Norse Heathenry is referred to by many names, which reflects different developing iterations of it. Amongst these names are Norse Paganism, Asatru, and Forn Sidr / Forn Sed.

Where does Norse Heathenry come from?

Norse Heathenry comes from the Nordic countries of Europe: Norway, Sweden, Denmark, Iceland, and the Faroe Islands. These places are also known as the homelands of the vikings. But despite their shared origins, Norse Heathenry is not the religion of the vikings. This very large misconception has a very long, complex history behind it, owed to a combination of commercialization and fascist tampering. The Heathenry we see in America is extremely muddied from these influences. Fortunately, we now have the means to disambiguate it, thanks to increasingly accessible cultural exchange.

The following explanation is a product of ongoing anthropological, theological, and cultural research, in combination with what we know about the historical.

Norse Heathen Beliefs

Unlike organized religions, Norse Heathenry is (and has always been) a decentralized belief system. This means it has no universal doctrines, no orthopraxy or orthodoxy, no holy texts, and no religious figurehead governing it. When you hear people say "There's no 'right' way to practice Heathenry," this is generally what they're referring to.

However, Norse Heathenry does have a distinct way of thinking about and viewing the world, and it's very different from what we usually see here in the US. If you're feeling stuck trying to figure out how to "do Heathenry," this would be why.

Animism

A staple of Norse Heathen epistemology is Animism.

Usually, Animism is defined as the belief that all things have a spirit or vital essence to them. But this is only one definition of many, and not the definition that applies here.

The Norse concept of Animism is "the awareness that all things are part of an interdependent ecosystem." This changes how we engage with everything around us. We understand that when we interact with the forces of this world, they will interact back on their own merit. Our relationship with all things is a social one, and we're not spectators in our environment, but active participants at all times.

This stands is stark contrast to the way the USAmericans typically view the world: As a landscape to either test or be tested by, with the forces of the world acting as the means through which this is done.

Additionally, there's no separation between the sacred and the profane.

Immanence

Faiths that focus on spiritual ascension, enlightenment, or attaining a good afterlife are known as transcendent faiths.

While Norse Heathenry has some transcendent elements, it's ultimately an immanent belief system, which means its focus is on living life for the sake of living, as opposed to living life to receive a good afterlife. A good afterlife is already guaranteed.

(Some Heathens may strive for a specific kind of afterlife, however, which do have certain conditions for accessing. But these are elective rather than required, and different as opposed to superior. It's all a matter of preference, at the end of the day.)

The Norse Gods

Many people are already familiar with the Norse gods, such as Thor, Odin, Loki, and Freyja, but not many people are familiar with how they operate as gods.

In Hellenism and Religio Romano, the gods are divine lords who preside over different domains of society. It's a reflection of what the ancient Greeks and Romans highly valued in their civilizations: Law and political/civic involvement.

In Norse Heathenry, however, gods don't operate in a lordship capacity. Instead, they're more like celebrities in that they're celebrated figures everyone knows about.

While they don't rule over one thing or another, the Norse gods often act as allegorical representations of worldly phenomena. Thor is to thunderstorms as Loki is to "random-chance odds." SIf is to wheat-fields as Odin is to the old wandering beggar. Frey and Freyja represent masculine and feminine principles, Skadi the driven snow and foggy winter, and so on. The gods exist as worldly experiences inasmuch as they exist as ideas.

Lastly, but importantly, the Norse gods don't distribute rewards or punishments in accordance with on one's actions or deeds, nor do they tell us how we ought to live our lives. The way they interact with us depends on our individual relationships with them, which can be just as diverse as the ones we have with each other.

Myths & Folklore

What people often refer to as the "Norse Myths" are stories found in two old Icelandic texts called the Prose Edda and the Poetic Edda. These texts are special because they're the oldest and largest collection of tales featuring the Norse deities.

However, these texts represent just one region's period-specific interpretation of Norse folklore. They also only represent a fraction of the tales that still circulate within Nordic oral traditions, so not only are they not "canon" in the usual sense of the word, they're also just a sample.

This is all to say that Norse Heathenry doesn't have a hard body of mythology. It certainly has a defined one, but its definition is built from local legends, fairy tale humor, songs, customs, superstitions, and family folklore in addition to what survives on runestones and parchment. The corpus of Heathenry is very much a living, breathing thing.

Spirits

Norse Heathenry recognizes a wide variety of different beings, the likes of which can be found all around us. Some of these beings are like how we typically imagine spirits, in that they're incorporeal or otherwordly, while others are physical but may play tricks on you so you can't see them.

Like many things pertaining to Heathenry, there isn't a universally-shared classification system for Norse beings. But generally-speaking, beings are defined by their natures and the manner in which they relate to the rest of the world, rather than their morphology. For example, Trolls can take the appearance of rocks, trees, and also living people, but they can also be incorporeal spirits. This is all, however, the same kind of Troll, rather than being different types of trolls.

This is also why the lines between "spirit", "god," and "ancestor" can become very blurry at times. In English use, these are all typically labeled under the category "vaetter." Sometimes "wight" is used to refer to spirits of various types, but isn't often used to refer to gods.

Typically, the way people interact with spirits entirely depends on what kind of spirit they're dealing with, as well as their disposition towards human beings. Some spirits may enjoy a personal relationship, while others are best when left unbothered.

Values & Morality

Because Norse Heathenry has no doctrine and is immanent in nature, it has no fixed value system. Just like the stories were decentralized, so were the Norse people's values.

This is a feature as opposed to a flaw, and a fact as opposed to a theory. But it also has a habit of making Americans very uncomfortable.

For this reason, Heathens sometimes choose to construct their own value system to observe as part of their practice. But what those values are is up to each individual, and individual community, if applicable.

Anyone claiming Norse Heathenry has a universal value system is either new to Heathenry, or selling something.

Veneration

Heathen veneration is not just limited to gods, but also includes ancestors and even certain kinds of spirits, such as nisse/tomte.

Like most things in Norse Heathenry, what, who, and how a Heathen chooses to venerate is their choice to make. One popular observance across the globe is to craft altars, shrines, or similar sacred spaces for the entities one venerates. If a Heathen lives in a house that has a nisse (similar to a gnome), they might leave porridge (with butter) by the hearth for him, and he'll in turn bless the house with good luck and fortune.

Oftentimes, relationships with entities are very interpersonal. Heathenry's animistic and immanent nature means entities are rarely cold and distant, including the gods.

Misconceptions!

A list of misconceptions off the top of my head:

The practice known as 'Odinism' is an invention of the Germanic Volkish movement, which was the social precursor to Nazi Germany. This is also, unfortunately, the first kind of "heathenry" to be brought to the US, back in the 1970's. It was spread through the country via one of the fastest-moving networks at the time: The US prison system.

The Black Sun is a Nazi symbol, not a Heathen one.

No, Norse Heathenry is not a closed practice.

No, you don't have to have Scandinavian heritage to practice Norse Heathenry. Blood quantum is not a thing.

The rune alphabets are old, but the method of runecasting is new.

So is the use of magical bindrunes.

Bindrunes are also different from Galdrastafir. The latter is actually a form of Jewish-Christian-Norse syncretism and needs to be taught orally since it's a mystery tradition. You can still slap the Helm of Awe on things and look cool about it though.

Norse Heathenry is not the same as being a viking, and Norse Heathens are not vikings. However, some Heathens partake in viking reenactment as an extension of their practice.

There's no good or bad gods in Norse Heathenry. All the gods are capable of great good and great bad, just like people. They're fallible, and that's what makes them relatable.

Odin and Loki aren't at odds with one another.

You don't need to wait for a god to pick you to start venerating them.

If you're interested in learning more about any of these in-depth, check out the website I've built on Norse Heathenry, located in my pinned post!

[jh-newman-opn]

The Moscow Fiasco

At the prodding of @quonunc, here is a quick overview of the incident I fondly referred to as "the Moscow fiasco" in a previous ask about the difference between Catholicism and Orthodoxy. It's a subject dear and horrifying to my heart after I wrote my undergrad dissertation on it.

In short: this is to do with how the Moscow Patriarchate (Russian Orthodox Church, hereafter ROC) is entirely in bed with the Russian government, and how Patriarch Kirill (of Moscow and All Russia) has been responding to the ongoing situation in Ukraine (and former Soviet lands more generally). Picture will make sense lower down the post.

The slightly longer short answer is that Patriarch Kirill is entirely in favour of the Ukraine war, and the ROC clergy are under significant pressure to support that as an official church stance-- my dissertation topic started to germinate when, completely by accident, I came across a 10-minute video of a ROC priest explaining very slowly and carefully that when he met the Pope, he did not talk about Ukraine. Will link this video if I can find it again, but at present it's proving elusive. (EDIT: found it!!! It was the Metropolitan Hilarion of Budapest and Hungary. This video looks like a hostage video honestly £10 says there's someone behind the camera holding a gun to this man's head for legal reasons this is a joke).

The foundation for this belief is obviously completely political (and the history of how the ROC and Russian state are completely entwined is long and complicated to say the least!), but officially the ROC stance is that it's about reclaiming the historic Slavic spiritual unity founded on the Baptism of Rus' in the year 988 by Vladimir the Grand Prince of Kievan Rus' when Slavdom become Orthodox. Proponents of this "Russian World" theory (Russkiy Mir') basically argue that it's the influence of the West that has fractured the unified Slavic people into different, opposing nations, and that by "liberating" Ukraine of this alien ideology of nationhood, the Slavic Orthodox world will regain its historic unity under the common banner of Orthodoxy. All I will say on this is that these people have a very rosy view of Kievan Rus', but that's a post for another day.

This has obviously caused friction within the Orthodox world. Ukraine now has two Orthodox churches-- the Orthodox Church of Ukraine, which is in communion with the Ecumenical Patriarch in Constantinople, and the Ukrainian Orthodox Church, which is in communion with the Russian Patriarchate. They are not in communion with each other, and Constantinople's decision to grant autocephalous status to the OCoU caused Moscow to schism with Constantinople. Constantinople is also accusing Moscow of heresy (specifically, ethno-phyletism). Moscow obviously denies this. Obvious question for the Catholics among us-- does this mean Russian Orthodox christians are no longer Orthodox? No, because schisms between Orthodox churches are not particularly unusual, and they remain within the general cloud of Orthodox communion links.

The whole mess is then immortalised in the absolute monstrosity that is the Main Cathedral to the Russian Armed Forces, which is what I wrote my diss on. The YouTube video linked there is promotional material from Russian military-themed TV channel Звезда, and is one of the better sources of info on it-- a lot of English-language sources contain a lot of incorrect information on it-- either because they don't understand the cultural background, or just straight up lies from the Russian govt propaganda arm--, so take anything they say with a grain of salt. Kirill then gives televised sermons from this cathedral in which he talks about the glorious Russian martyrs of the Ukraine invasion, does his best to harmonise Stalinism and Orthodoxy, and oversees military parades for national holidays. This cathedral has a huge amount of weird symbolism and imagery, and I am super happy to talk more about the mosaics and propaganda going on there, because it's a lot (to say the quiet part out loud: pLEASE ask me more about this cathedral because the more I think about it the more scream-worthy facts about it I remember).

You may have seen memes with this picture of the Virgin Mary (below). Yeah that's from this cathedral. And it's a really really fucked up image. Like, more fucked up than you may think. Could have written my entire diss on this image alone and how shockingly awful it is. western orthobro converts who keep reblogging it as if it's somehow cool and macho are just showing how little they know and it's embarrassing.

The militarism of the ROC since this whole thing has also gone bonkers and there's a huuuuuge amount of corruption and weird stuff going on. The tension between the clergy and the laity has been extremely high for decades, and has spilled over most notably in Pussy Riot's Punk Prayer stunt, an exhibition called Осторожно, религия! (beware, religion!), and some shenanigans in church-building more generally. On this particular incident I would point to the blessing of nuclear weapons and the canonisation of a patron saint of long-range nuclear missiles as key moments. The cathedral also has matching mosaics of Putin and Stalin, a fact that the Russian government very much wants you to think never happened (officially the mosaics were removed, but they absolutely were not-- muggins here found them and has the pictures to prove it).

The main takeaway from this topic is that situation is obviously complicated and the repercussions for everyone involved-- particularly Russian and Ukrainian laypeople-- are unpleasant to say the least. It gives something of a window into the Putin regime and its propaganda arm (Epiphany swim, topless horseriding pictures, Soviet-style policies, I could go on) more than anything else, because the situation inside the ROC is still quite obscure. From talking to people who know Kirill personally, it's not clear quite what he thinks is going on or why he's involved the way he is. Either way. Fiasco.

[miapcain]

Hi! I found your blog just recently and I love the Vesnaposting - the art, the comics, the gifs from the game, all of it. I've got so many questions:

How did you got yourself interested in this time period? Why Bohemia? Where exactly could the castle be found? Do you plan to connect your story with some "greater events" from that time? Will your OCs travel a bit?

Please, continue with all of this. It looks great and I would also love to play the game one day!

Thank you very much for the questions! I love getting intricate and thought out things to answer, and I'm humbled you like it!

I've been a sort of amateur medievalist for a while now- I can't point specifically to when it started, but it might have been reading Pillars of the Earth as a teenager, or finding out that the town I grew up in had an important courthouse that was closed in the 1300s- that's a scale of time that overwhelmed me then, and still makes me feel a deal of frisson now. The 1200s specifically sit at an intersection of really cool stuff in central europe- it's right before Franziscanism spreads and shakes up the monastic system, Waldensian heretics were prefiguring how the church would later fracture (I feel they resemble specifically the czech utraquists in some of their stylings and beliefs), and the Pope was in open conflict with the holy roman emperor; On the political side, Friedrich II was nearing the end of his reign, and his death would lead to the interregnum, where the empire is effectively without an emperor for years on end; The Popponer dynasty is about to crumble in Austria, and the Lion of Prague Ottokar II Přemýsl is about to add all of Austria to the Bohemian Kingdom, interrupting the ongoing Ostsiedlung (German Eastern Colonization, for those who don't know), all to the backdrop of endless failing crusades. It's just before the Habsburgs gain greater relevance and europe slides into the rennaissance, in my mind putting an end to the "proper" middle ages.

I've been curious about Czechia for a long time; I was too young to really notice when the country joined the EU, but even years later, I remember grumbling that they were going to "ruin" us, by flooding our country with cheap labour or products or somesuch. It's always struck me as odd. That energy ended up getting redirected towards migrants from the near east in the 2010s, but it's stuck with me; Here's a country Austria has, in some form or another, struggled with for centuries, dominated terribly through to the very end of our wretched pitiful attempt at an 'empire,' tried to keep chunks of as recently as 100 years ago, and yet I didn't learn so much as a single thing about it in school. Austrian schooling is dead set on not mentioning a single thing between about 1500 to 1933 (and even then, we often gloss over just *how* enthusiastic a lot of austria was to participate in the holocaust and become part of germany- or how no real denazification took place after the war), and obviously reading any history at all immediately got me hooked on finding out more. History aside, I love the bohemian massif dearly; the rolling hills, deep shadowy forests, little brooks, misty autumns, distant alps, it's one of my favourite regions on earth; I grew up in southern upper austria, but studied near Freistadt, which is where I gathered a lot of reference material for Vesna.

The castle doesn't have an official location, but there is a general area: "north of Freistadt, east of Rožmberk." Here are some rough indications on a modern Vesna era map, a rennaissance map, and google maps:

4. Not to spoil anything, but yes- Franzesca's father, a Bavarian, is a true believer in the "stupor mundi" Frederick II, and the need to "germanize" the backward slavic populations of Bohemia; He detests Saint Václav and forbids castle servants from speaking czech. The timing of the events of Vesna is chosen very specifically to be ironic in this regard- but you'll see when we get there :P

5. Yes, at the very least you will get to see Vesna and friends in the Machlant, Rožmberk and Linz. Franzesca will travel to her family home of Innsbruck and to Normandy, and it's likely more will happen, depending on where the story goes.

Thank you again for the questions! I hope to be working on Vesna for a long time, if it stays interesting :)

[dykeulous]

about me.

i am apollo, a 20 year old homosexual transguy butch, and i come from a small, underdeveloped slavic country. i made this blog in hopes to come to a finalized understanding of my own personal beliefs, as feminism & overall politics have been a very close & important interest of mine for quite a long time– but it has lately been growing into something bigger. i find it is my role and duty to shed light on specific, more grey areas, that many people from my political sphere tend to overlook & even outright dismiss; and this is something that i strive to achieve during my time being on radblr. i conversate with people whose political beliefs vary & don’t align with my own on a wide scale, and i hope to promote a nuanced approach to many topics. i believe locking ourselves up in an echo-chamber will only result in infighting, fearmongering, culty behavior and needless division– when time could have better been spent exchanging ideas, researching ways to fight the common enemy, and actively organizing.

i am a working-class lesbian and still in college (majoring in history & sociology), and my political views stem from my own life experiences. i am a bolshevik-leninist, much of my feminism is connected to this in many ways (i advocate for revolutionary feminism, and would describe myself as a dual system feminist); i believe that working-class women share very little similarities with bourgeois women, and thus should not share solidarity with them. i’m very interested in rehabilitative justice. when you become aware of the institutional sexism & mistreatment of women in every corner of our society, you will begin to see that this extends to several institutions that you might have viewed as helpful and safe– i consider myself psychiatry-critical (not anti), and i hate the way that so many women & feminists fail to see the misogyny in the field of psychology & more overall medicine. the male body is seen as default in every case scenario, and it is on us feminists to lividly oppose & fight against that. i am gender critical, but not transphobic– trans people deserve the right protection and safety, but this should not come at the expense of other marginalized groups. the trans community does a very bad job at addressing misogyny in their spaces, and often adopts an ideology of metaphysical beliefs, which directly oppose dialectical materialism, and rather push for an idealistic view of the world. radical feminist spaces, on the other hand, may ignore the need for nuance in some cases, and brush off the very important fight of dismantling transphobia (and viewing transphobia as inherently patriarchal). i believe both spaces ought to improve, and instead of cannibalizing each other, we must come to an understanding of each other (despite certain disagreements), and work together on our shared end goal. both communities can learn plenty from the other, and both can offer useful strategies to the other. the key lays in recognizing both sex-based oppression and transphobia as legitimate axes of oppression, and uniting to fight the lethality of the patriarchy.

i hold addicts & recovering addicts dearly to my heart, and i believe that criminalization does nothing good, and instead marginalizes the addicts, especially female addicts. i am not vegan myself, but i appreciate the work of my ecofeminist sisters, and their amazing analyses of the oppression of animals & patriarchal-capitalist exploitation of our environment. i am autistic, and my most prominent special interest has to be gender abolition; the reason i made this blog in the first place is exactly because i wanted to develop my own theory of gender abolition. this is how i define gender. the pathway to gender abolition that i personally align with the most is gender acceleration. another special interest are marxist politics. anti-racist, anti-imperialist, anti-zionist. 🇵🇸 FROM THE RIVER TO THE SEA PALESTINE WILL BE FREE!!!

my current hyperfixations are harry potter, my little pony and more generally vampires. i kin twilight sparkle from mlp, and severus snape & barty crouch jr. from harry potter (weird mix i know). i am an intj, and used to be quite interested in typology before. i primarily listen to feminist punk (riot grrrl), but i also sometimes enjoy a good goth masterpiece. i am interested in soviet history (the night witches are so fascinating), cuban cuisine, and north korean culture. i would define myself as a slavic patriot, and will not hesitate to punch a westerner in the face if they choose to close their eyes before our beautiful history. tito, lenin, che guevara, rosa luxemburg apologist. my favorite feminist authors include angela davis, clara zetkin, alexandra kollontai, monique wittig, christine delphy, audre lorde and cordelia fine (cordelia fine in particular i would recommend to a lot of people on radblr to dismantle their own bio-essentialism & neurosexism).

not exactly a nicefem, even though i do try to be kind & informative– i tend to get angry fairly quickly, and this is something i’m working on. do not assume bad faith. extremely bad at reading tone, and i myself can sometimes come off as rude & condescending unintentionally; feel free to ask me about tone. i see misogyny in everything and will not hold myself back from calling it out, no matter the setting or the situation. everyone can interact, and i do not block easily, but if you engage in outright harassment & repeat petty insults, i will block.

i would not explicitly call myself a tirf either, even though in practice i would be considered one. this is because i often find that “tirfism” leans into trying to erase the existence of sex-based oppression, and shifts the radical feminist movement into a direction that completely neglects material reality & instead focuses on the same old liberal tactics. the word “tirf” in the first place stems as a counter-attack against the word “terf”, making it reactionary. i’ve also personally been in several spaces filled with tirf-identified folk, who ended up heavily speaking over trans men & prioritized trans women over any other demographic, focusing on proving that they are “one of the good ones”, destroying the purpose of radical feminism. i believe the word “terf” has completely lost its’ meaning & is excessively being used as a way to shut up exclusively same-sex attracted women & women who dare talk about sex-based oppression. when i see a radical feminist being shitty & using transphobic rhetoric, i call her a transphobe; not a terf. nevertheless, i believe there is a time & place for trans women to offer their voice in feminist discussions, and their voice is very important & deserving of being heard & uplifted, so long as they stay respectful of female people & our unique experiences. i consider transmisogyny a legitimate axis of oppression [and transandromisogyny, better known as “transandrophobia” although i take issue with the roots of that word], and i think it should be discussed & analyzed more in feminist spaces. that being said, if a feminist wants to exclusively focus on female liberation & chooses her feminism to be female driven, she should have every right to do so.

#ftminism is a tag i use to talk & ramble about transmasc-specific [or transmasc-adjacent] struggles that i feel can be connected to feminism in one way or another. i also sometimes tag transmasc positivity with this. it is a word that i coined to describe transmasc-activism, since i feel trans feminism does a horrible job at including trans men. feel free to consider it a subsect of trans feminism, but i personally do not, and i think it should be its’ own feminist branch. i am transmasc myself, and thus mostly center my feminism around this [i also center butches, detrans women, studs and overall gender nonconforming female people in my feminism]. we deserve our own space to vent our anger at the patriarchy.

check out @pokegyns– it is a collaborative nuancefem blog, modded by discord server members, and created by @tirfpikachu.

*Thread: Transness and Radical Feminism Can Coexist*

[whencyclopedia]

The Frog Princess

The Frog Princess is a Slavic folktale focusing on the importance of recognizing someone’s inner beauty, regardless of their outward appearance, as well as the possibility of redemption after failure. The tale has many variants and appears in Czech, Hungarian, Italian, and Russian folk works as well as many others.

In the most popular version of the tale, from Russia, a prince who has married a frog discovers she is a beautiful and magical maiden but betrays her trust, forcing her to leave him. He must then embark on a quest to prove himself and win her back. The frog princess in this version is known as the fairy Vasilissa the Wise, but the heroine is not the same character as Vasilissa the Beautiful from the folktale of the same name featuring the witch Baba Yaga.

The Russian version is well-known for the dramatic twist it puts on the character of Baba Yaga who is seen here as a helpful entity, rather than as an evil, child-devouring hag, whose mystical powers are symbolized by the number three as there are three baba yagas, each of whom progress the plot. The tale is representative of the animal bride and offended supernatural wife motif, which appears in several legends from different cultures. The Slavic tale has nothing to do with the modern-day novel The Frog Princess by E. D. Baker which formed the basis for the 2009 Disney animated film of the same name.

Origin & Motif

The form of the story derives from one of the most ancient, the animal tale, made famous through Aesop’s Fables but first appearing in Mesopotamia. An animal tale uses animals as characters either to explain something (e.g. how the dog got its tail) or to impress some moral on an audience (as in the well-known Aesop tale, The Fox and the Grapes). Scholars Maria Leach and Jerome Fried comment:

The line between the literary and folk fable is not easy to determine, since tales from collections like that attributed to Aesop have had wide popular circulation and have been taken from and gone back into oral traditions of large groups of people. However, the area of contact between the didactic, moralizing fable and folklore is slight, for the animal tale proper is meant essentially to entertain. The hearer is required to suspend belief and see the animal speaking, thinking, and acting like a human being. (61-62)

In the tale of The Fox and the Grapes, for example, the fox behaves like a petulant child when he cannot reach the overhanging grapes and finally walks away saying they were probably sour anyway (inspiring the phrase "sour grapes" referring to someone who rationalizes a failure to get what they want). For the tale to be effective, an audience must accept the world of the tale in which foxes can speak, reason, and rationalize. In this same way, The Frog Princess relies on the suspension of disbelief at a talking frog who is able to perform transformational magic.

The tale is similar in many ways to the better-known The Frog Prince (also known as The Frog King) in which the youngest of three princesses drops her gold ball into a well by accident and it is retrieved by a frog after she promises she will be his companion. Once the frog returns her ball to her, however, she breaks her word and runs away. The frog then follows to force her to keep her promise. The princess only accepts the frog once she finds out he is actually a handsome prince and, according to different versions, she is either rewarded for her kindness or punished for being shallow and selfish.

The Frog Princess also has the main character show kindness to the creature but later betray its trust and also uses the device of the youngest of three as this was a popular motif in folktales. The youngest son would usually receive no inheritance, and the youngest daughter was married last and so might have the poorest dowry. Folktales balanced this perceived injustice by frequently featuring the youngest of the family as the hero or heroine.

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