#v: spirit of duality

[melliae]

Assorted Pharos/Ryoji Thoughts

So, huh, don’t expect something too meaningful or conclusive for this. It’s quite literally just me rambling about the possible connections and influences Pharos and Ryoji have as they come. Quite messy, and it may not make much sense…

Phallus and Birds

As I said in my post about Nyx, Pharos’ japanese name (“ファルロス”) isn’t a word that exists. It’s a combination of “ファルス” (“Phallus”) and “ファロス” (“Pharos”, as in the lighthouse of Alexandria). The two of them mark him as the masculine aspect of the Star Eater (i.e., its psyche), while its body remains as the feminine or maternal one.

“In this sense, the concept of matter is also only one archetypal representation among many others; indeed the concept of matter derives from the archetype of the Great Mother. [...] The archetype of the Father, that is, of the mind, is the polar opposite.” - Psyche and Matter, by Marie-Louise von Franz.

This divide is important to make clear, since it harks back to one of the fundamental inspirations mentioned by the FES Fan Book: Jung’s childhood dream about “Father Phallos”. I’m not going to explain it since it’s somewhat long, but the gist is that it acted as one of the foundations of Jung’s work, as seen with Seven Sermons to the Dead:

“Spirituality conceiveth and embraceth. It is womanlike and therefore we call it mater coelestis, the celestial mother. Sexuality engendereth and createth. It is manlike, and therefore we call it phallos, the earthly father.” - Sermo V.

I’m not going into detail about what Jung exactly meant by “womanlike” or “manlike” beyond pointing out it is more akin to the Yin and Yang division, but through western or hermetic lens.

While the parts of sexuality and creativity are better represented by Ryoji for obvious reasons, the identification between Pharos and Father Phallos is still important because it points to the former’s future as the “son” or “avatar” of “Dea Luna Satanas”.

I put Systema Munditotius here again because it’s a graphical summary of the cosmology and psychological principles presented in Seven Sermons, showing how the human mind is a whole that encompasses all dualities. But instead of focusing on the vertical axis this time, I’m going to explain the horizontal one, where we can see:

The Emptiness (the black circle named “Inane”) at the leftmost extreme, whose dissolving and destructive capacities are manifested in the figure of “the Devil”, represented by the waxing moon—the so-called “Dea Luna Satanas” or “Goddess Moon Satan”.

The Fullness (the white circle named “Plenum”) at the rightmost extreme, with its creative capacities manifesting in the golden circle called “Deus Sol”, the Godly Sun.

Now, despite the presence of another Devil-like figure in the series (Nyarlathotep, with the japanese version of Eternal Punishment directly calling him “the archetype that destroys humans egos”), it’s undeniable the connection between Nyx as the moon and, well, the lunar Satan described in the Sermo IV:

“The dark gods form the earth-world. They are simple and infinitely diminishing and declining. The devil is the earth-world’s lowest lord, the moon-spirit, satellite of the earth, smaller, colder, and more dead than the earth.” 

And that’s where the other half of the left side enters: the Devil-Moon is the root of everything that’s “physical”, the “visible” and “sensual” spirits of earth (the green circle named “Mater Natura”) that manifest through the sexuality of the Phallos, who lies in the “depths of the earth” according to Jung’s dream—in the unconscious, with the Dark Hour being a symbol of it. That’s to say, Father Phallos and thus Pharos are the result of the countless souls that are attached to earth, of people dead in spirit and alive in bodies—of the Lost, and those who transmogrify each night, and those who have lost all hope.

However, unlike Pharos, the Avatar doesn’t show many “sensual” details, despite the entire Fool’s Journey it/he recited being a perfect metaphor of the earthly/gross side of life (i.e., you are born, you grow, you die); on the contrary, it presents a couple of celestial characteristics. The meaning of these properties lie on the other half of the right hemisphere, in the heavenly sphere that the wise kin of the Sun inhabits, communicating with the receptive nature of the human soul (or Celestial Mother) in the form of a white bird—the Holy Spirit.

“The white bird is a half-celestial soul of man. He bideth with the Mother, from time to time descending. The bird hath a nature like unto man, and is effective thought. He is chaste and solitary, a messenger of the Mother. He flieth high above earth. He commandeth singleness. He bringeth knowledge from the distant ones who went before and are perfected. He beareth our word above to the Mother.” - Sermo VI.

Yet, due to Nyx’s body being a shadowy reflection of the Heavenly Mother, it’s to be expected the Bird too becomes twisted, from a pure white dove into a pitch-black crow. There’s no need to go over all the references to black birds during the game, from Tartarus to Nyx Avatar—the messenger or “angel” of Nyx.

So, on one side we have Death as a Shadow, primitive and all-consuming, and on the other we have Ryoji, a conscious being filled to the brim with love and energy. Pharos is, then, the in-between, the liminal state between consciousness and unconsciousness, a baby that’s trying to break free from the grip of the unconscious’ “womb”, yet joins the “divine” with the mortal.

“The "child" is born out of the womb of the unconscious, begotten out of the depths of human nature, or rather out of living Nature herself. It is a personification of vital forces quite outside the limited range of our conscious mind; of ways and possibilities of which our one-sided conscious mind knows nothing; a wholeness which embraces the very depths of Nature.” - Archetypes and the Collective Unconscious.

Be it from Nyx or the protagonist/Makoto himself, Death/Pharos/Ryoji, from the moment his being was fragmented, sought separation and division, to know where his essence began and ended. He was trying to create himself. That’s the most beneficial manifestation of the Phallos: the birth of a “sun” or (primitive) consciousness through the active energy of the unconscious.

“The psychic life-force, the libido, symbolizes itself in the sun or personifies itself in figures of heroes with solar attributes. At the same time it expresses itself through phallic symbols.” - Symbols of Transformation.

An event comparable to the separation of the waters through the spirit (or “dove”) of God himself, or to the eating of the fruit of knowledge upon the serpent’s goading. That’s to say, a manifestation of the beginning of individuation, the development of the—his—Self out of the unconscious’ waters.

Introversion and Extraversion

Makoto is introverted, and Ryoji extraverted.

…

Okay. That isn’t something new, like, at all. But it’s a good start, since I’m not referring to the popular conception that we have of introversion and extraversion, but to the jungian one, explained in Psychological Types:

“The introvert’s attitude is an abstracting one; at bottom, he is always intent on withdrawing libido from the object, as though he had to prevent the object from gaining power over him. The extravert, on the contrary, has a positive relation to the object. He affirms its importance to such an extent that his subjective attitude is constantly related to and oriented by the object.”

I went into a deeper explanation in my post about Philemon’s and Nyarlathotep’s Types, but the above is the main idea: the introverted individual focuses inwards, in the inner realm of the universal “subjective factor” or unconscious, and the extraverted individual focuses their energy into the external world and its objects, relating to the present. As a compensatory method, the differentiated attitude of consciousness will be opposed by the acquisition of the contrary attitude within the unconscious, giving rise to psychic wholeness and certain peculiarities that, for the moment, aren’t important.

Now, with that out of the way, I want to focus on a particular scene described by the book, about an interpretation about Spitteler’s “Prometheus and Epimetheus”, with Jung concluding that the brothers are representations of introversion and extraversion respectively:

“For just as Prometheus makes all his passion, his whole libido flow inwards to the soul, to his innermost depths, dedicating himself entirely to his soul’s service, so God pursues his course round and round the pivot of the world and exhausts himself exactly like Prometheus, who is near to self-extinction. All his libido has gone into the unconscious, where an equivalent must be prepared; for libido is energy, and energy cannot disappear without a trace, but must always produce an equivalent. This equivalent is Pandora and the gift she brings to her father: a precious jewel which she wants to give to mankind to ease their sufferings.”

Prometheus parted ways with the outer world to focus completely on his soul, the realm of the unconscious and his Anima. Understanding that libido can be symbolized by fire, light and heat, then Prometheus’ actions can be interpreted as he trying to “incubate” the treasure that lies deep within, which is compared in other parts of the book with the dharmic tapas or meditation, and the birth of the Buddha, one of the “three jewels”… The underlying meaning of the scene should be obvious at this point.

“The moon with her antithetical nature is, in a sense, a prototype of individuation, a prefiguration of the self: she is the “mother and spouse of the sun, who carries in the wind and the air the spagyric embryo conceived by the sun in her womb and belly.” This image corresponds to the psychologem of the pregnant anima, whose child is the self, or is marked by the attributes of the hero.” - Mysterium Coniunctionis.

A renewal of the “Sun”, who is no other than Pharos/Ryoji himself. Or do you think the sobriquet of Saturn, the Persona unlocked through his Linked Episodes, is for nothing?

Just like the maternal Nyx holds the golden, cosmic egg inside its body, Makoto “incubates” within him the seed of a new life, enveloping it/him just like the ocean does with all sorts of “primitive” life. This is not surprising considering that introversion is the “feminine” (or “ying”) attitude, and that Makoto was, in fact, described as the “mother” of Pharos in the Club Book (Thanks to elle-p for pointing it out!).

But I think there’s something much more interesting in how Makoto “incubated” Ryoji, because just like the moon, as a symbol of the Anima, carries “the child of the sun”, Prometheus makes his libido flow towards his soul… or Anima. That’s to say, both Makoto and Ryoji, at some level, represent each other’s Anima, the sexual counterimage to consciousness that mediates the collective unconscious.

(While technically a non-canon portrayal of things, I still think it fits here :) After all, we know butterflies represent the souls of individuals in the series)

It’s not a perfect correlation naturally; the soul-image is that of the opposite gender of consciousness, to balance the psyche. But the mirror idea is the basis of their relationship, with Ryoji and the protagonist playing each other’s attitudes. The movies are more explicit with this, and there’s a particular quote I really hold close to my heart:

“綾時は理の対極にいるようなキャラクターです。物静かな理と社交的な綾時は"静と動"の関係であり，彼らの対比第3章の物語に欠かせ��い視点をもたら��ています” - Keitaro Motonaga, Persona 3: Falling Down Pamphlet.

“Ryoji is a character that feels like the opposite of Makoto. The quiet Makoto and the sociable Ryoji have a relationship of ‘stillness and motion’, and their contrast brings about an indispensable perspective in the third chapter of this story.”

The connections are clear: Makoto is an introverted sensor (ISxx), and Ryoji is an extroverted intuitive (ENxx). And if we really break down their character, Makoto is an ISFJ (overall ISFx, with the J/P depending on the particular media) and Ryoji an ENFP, which is pretty damn close to a mirror match! You can compare them with Elizabeth, who is likely an ENTP.

Anyway, what’s more interesting in Ryoji’s Type is how it’s described on Psychological Types, under the “Extraverted Intuitive” section:

Going from “object” to “object” and situation to situation, never satisfied with the current circumstances staying the same.

That applies to people too, how they can go from “adventure” to “adventure” in search of romance.

Thanks to the enthusiasm they hold for what is next, they are able to inspire others as well.

Their unconsciousness is mainly governed by an archaic Sensation directed towards introversion, which means their blind spot corresponds to the endosomatic part of the senses, manifesting as strange and absurd sensations (which yes, it can include perceiving the world as dream-like).

And since Ryoji is a feeler as well, all those characteristics acquire a romantic tinge, seeing things by what they emotionally mean instead of what they (sensually) are. Does it sound familiar? Metaphors about “flowing water” maybe? You can quite literally do one of those school homeworks of joining columns with those points and Ryoji’s characterization.

Another interesting thing to consider is the contrastive relation between Ryoji’s and Makoto’s Types, which returns to my previous point of Ryoji being “incubated” through Makoto’s introversion, because he’s the personification of Makoto’s unconscious functions. The only exception is Ryoji being an extraverted feeler (ExFx) instead of an extraverted thinker (like with Elizabeth again, or Metis), but I still think it fits with Edogawa’s explanations in P4G:

“However, it's not impossible that you might have picked it. The other path was certainly a logical choice. Your Shadow is the path that you didn't take. In other words...It is another you. The Shadow is the ‘you that wasn't picked.’”

Through his fear and trauma, Makoto withheld all the “heat” he could have vested life with inside his soul, warming and breathing life into the “seed” that was sealed within. But whereas the Shadow merely personifies that repressed libido and possibilities, Ryoji became human only through living them—he didn’t only embody Makoto’s repressed yearnings and sufferings, but made them his own. This returns once more to the “jewel” of Pandora that doesn’t solely belong to Prometheus (i.e., Makoto), but to the whole world.

“hell: a name for the *prima materia, the *black colour which appears during the *putrefaction of the matter of the Stone at the *nigredo, the torture through which the ‘body’ of the Stone passes while being dissolved by the secret fire. [...] The nigredo stage is also known as ‘Tartarus’. During the process of the nigredo the colour of the putrefaction is said to be as black as pitch, and the shades of hell appear. A profound blackness reigns both over the matter in the alembic and over the alchemist who may experience the torments of hell while witnessing the shadow or underworld of the psyche.” - A Dictionary of Alchemical Imagery, by Lyndy Abraham.

There’s no need to explain why Tartarus and the Dark Hour are the unconscious, but I’ve to in regards to how they represent Makoto’s “stagnant hell” and their relationship with alchemy.

Fire and Motion

According to the same book I quoted before, “A Dictionary of Alchemical Imagery”, towers in general can be interpreted to be symbols of the alchemical alembic, the main instrument through which the alchemists try to create the philosophers’ stone. However, alchemy is both an outer and inner discipline, so the tower isn’t merely a symbol for the external instrument, but also for the inner one: the human soul, which is put through “hellish” heat to purify it. Thus, towers, hell, and the individual become synonyms for the same alchemical instrument of transformation, fueled by the “secret” or “inner fire” that, in this case, corresponds to Makoto’s libido.

If we follow the normal alchemical process, then Death/Ryoji should be equal to the prima materia or the “first matter” used to create the Stone. But since the Stone is a symbol of the Self, the presence of Ryoji is iffy unless we, instead of thinking of him as the actual goal of alchemy, interpret him as the “secondary” goal, as gold itself, the mineralized/gross essence of the sun.

“But when the alchemists speak of gold they mean more than material gold. In the microcosmic-macrocosmic law of correspondences, gold is the metallic equivalent of the sun, the image of the sun buried in the earth. The sun in turn is the physical equivalent of the eternal spirit which lodges in the heart (the ‘sun’ of the human microcosm).” - A Dictionary of Alchemical Imagery.

This is a topic I already explained previously, since “sun = life = libido = phallus”, corresponding to the masculine/yang/extraverted side of things. As I previously noted on Nyx's post, one can see all of these correspondences with Ryoji’s infamous yellow scarf that represents the golden color—Nyx's core—of the final battle according to the Design Works (again, thanks to elle-p for pointing out that indecipherable text!), decidedly marking him as a product of Makoto’s inner work—as his “mineralized” life-energy.

But to describe Ryoji as purely gold would be incorrect; he’s far from being a pure manifestation of the incorruptible essence of the sun. His true nature is pointed by, again, the final Persona of his Linked Episodes, Saturn, the black sun .

“This power is called ‘sulphur.’ It is a hot, daemonic principle of life, having the closest affinities with the sun in the earth, the “central fire” or ‘ignis gehennalis’ (fire of hell). Hence there is also a Sol niger, a black sun, which coincides with the nigredo and putrefactio, the state of death.” - Mysterium Coniunctionis.

It’s darkness itself, the stagnation of life and its energy that leads to the state we see in the Dark Hour: putrid and rotten to the core, stagnated and filled to the brim with the dead and lost in life. It’s the collective “dark night of the soul”, the nigredo stage of alchemy of all humanity that can only be overcome by setting the world in “fire”, the element of motion and change that makes the clock advance with each full moon and each cleared floor in Tartarus, for better or worse. The transformation of Death into Ryoji is just the repetition of such a process at the individual level.

And if all of that sounds familiar, it should be! That’s the fundamental meaning of both the Fortune and Death arcanas, representing the nature of life as endlessly changing to represent its wholeness. Thus, life stagnating and “becoming a void” is a paradox that must be solved by reigniting its motion/change, lest it collapses into itself.

“This card is attributed to the letter Nun, which means a fish; the symbol of life beneath the waters; life travelling through the waters. [...] In alchemy, this card explains the idea of putrefaction, the technical name given by its adepts to the series of chemical changes which develops the final form of life from the original latent seed in the Orphic egg.” - Book of Thoth, by Aleister Crowley.

The Death arcana is that hellish fire that puts people under the most unbearable pain to put things in the correct path once more. Due to that, it has three “manifestations”: the scorpion that kills itself when finding itself surrounded by “fire”; the serpent that renews itself through its shedding, crawling and thus still attached to earth; and the eagle, the spirit of life that soars the sky, unbounded by and embracing change at the same time. Yet, Death as a Shadow represents the contrary, the stagnated core of the Dark Hour that leads all to its destruction and that must be burned—killed and resurrected

Alchemy is necessarily a violent process, because it requires the constant death and union of the elements so they can be “perfected”. In Death’s case, its alchemical work began from the moment it was separated/“killed” and sealed in Makoto, who is a stand-in for the maternal womb, the alchemical vessel, and the mercurial waters that dissolve the murdered element. Yet, as the alchemist himself, Makoto also pours his own life and heat into the dissolved Shadow to unify and resurrect it in a new, “purer” shape: Pharos, the “creativity” of a nascent sun, the seed of a new life.

(By that matter, Nyx crashing against earth follows a similar pattern: the original being is mutilated and “dissolved” through the alambique—the primordial hadean life. The broken egg or core is an image that has the same meaning as the separation of Death; both fall under the dismemberment motif of alchemy)

But then, how does all of this relate with Saturn? Well, it’s because Saturn has a really long history in hermeticism, alchemy, and astrology: he represents the outermost and heaviest planet of all, embodying the limitations and structure of the universe such as time and death, devouring nature to rebirth it once again. Furthermore, the planet is associated with none other than lead, the heaviest metal that’s commonly used as a metaphor for the first matter, the moribund nature that… well, it should be obvious what one must do.

And funnily enough, just as fire is the element of transformation and renewal, Intuition in general corresponds to the function that oversees the dynamic elements of reality. It perceives the relations and motion between external/internal objects. So in more than one sense, Ryoji is the “inner fire”/“spirit” of Makoto. However, since alchemy deals with opposites and due to his nature as the black sun/saturn, there must be a limiting element in nature to restrain his ever-expanding/intuitive nature…

The Bonds of Death

Why a scarf? Why not another piece of cloth or even jewelry? Well, the image above answers why: a scarf is no different from a noose, one of the most common elements of death deities and grim reaper figures around the world, for what’s death but a hunter of humans? Thus, Ryoji’s scarf is a symbol of how even himself is bound to death, to his underlying nature.

“The difference seems to be due to the repression of real sensations. These make themselves felt when, for instance, the intuitive suddenly finds himself entangled with a highly unsuitable woman—or, in the case of a woman, with an unsuitable man—because these persons have stirred up the archaic sensations.” - Psychological Types.

I can hardly argue in favor of the “unsuitable” part, but there’s no need to really explain the other one, right? “Déjà vu” and all. That’s the “magical” part of Introverted Sensation, which transforms the sensed objects into symbols of the collective psyche through impressing it onto them. And in case of inferior Sensation, as presented above, those filtered sensations become “effective entities” on their own right since the archetypal forces of the unconscious control them, possessing them even. This strengthens the idea of Ryoji’s attraction being rooted not only in the forgotten or unconscious memories of when he was Pharos, existing in a liminal state between consciousness and unconsciousness, but also points to how those memories are themselves mixed with archaic, mythological imagery, and that only has one source.

The protagonist is Ryoji’s “alchemist” and thus an equal to his “mother”, a reflection of Nyx as Death’s “mother”, the “black ocean” from which the transmuted golden egg (or seed) was extracted. This relationship is also pointed out by the fortune teller in club Escapade during January, explaining how “nothingness is the other face of the infinite world/universe”, ultimately hinting at the same thing I explained through the inferior Sensation: the oneness between the figure of Nyx and Makoto (understanding him as a symbol for all humanity).

In particular, I think the image above is perfect for this, since not only Nyx’s core and Makoto are (close to be) superimposed with each other, but also due to the black spiral in the background. The spiral also appears on the Great Seal’s surface, and within this context I have to quote Jung once more:

“We can hardly escape the feeling that the unconscious process moves spiral-wise round a centre, gradually getting closer, while the characteristics of the centre grow more and more distinct. Or perhaps we could put it the other way round and say that the centre—itself virtually unknowable—acts like a magnet on the disparate materials and processes of the unconscious and gradually captures them as in a crystal lattice. For this reason the centre is (in other cases) often pictured as a spider in its web (fig. 108), especially when the conscious attitude is still dominated by fear of unconscious processes.” - Psychology and Alchemy.

The book and even the own paragraph goes on to say that the “centre” is the Self (along with a noteworthy mention of the orphic egg again). But more importantly is the mention of the web here, representing consciousness’ “fear” of joining into the endless spiral that moves around without end, and its connection to the first kanji of Ryoji’s name: “綾”, which means “twill weave” or a “pattern of diagonal stripes”, a textile element that shouldn’t be so different from a web. Needless to say, all of that is connected to the figure of the alchemist/crafter and that of a mother.

The scarf in the first image, due to the fetal position of Ryoji, can be read as an umbilical (normally red) cord connecting him to Makoto/the “mother”, while the second is a little more explicit with the association to the red thread of fate—and what other fate there’s but death? Ryoji’s inherent connection to Death and Nyx is expressed through the “golden cord” that his scarf is, which can also be read as a noose, and as a manifestation of the inferior Sensation, the static element that eternally joins him to his source.

(Scan uploaded by Vesk)

Even the final resolution of Ryoji and Makoto, the white stone and pure dove incarnated, can’t abandon the chain that binds them to death and its hellish fire. However, this time is a willing acceptance of its existence, holding it with one’s hand instead of letting it strangle the individual unconsciously. Even the hands at the waist are holding each other gently, representing the final union of the “lovers” at the top of the alembic—at the top of Tartarus—in the form of a winged spirit.

“The united bodies of sulphur and argent vive, usually symbolized by a pair of lovers, are killed, dissolved and laid in a grave to putrefy during the stage known as the *nigredo. Their souls fly to the top of the alembic while the blackened *hermaphroditic body is sublimed, distilled and purified. When the body is cleansed to perfect whiteness it is then reunited with the soul (or united soul and spirit).” - A Dictionary of Alchemical Imagery.

Death is fate indeed, and in that fire, change and life. It’s the ultimate “fetter” that no one can go against, let alone the immortals that do not fear it.

[santoschristos]

Sun in Gemini I

Gemini decan 1 are high in passion which is unusual for such a geeky sign, but this is due to the emotional Hyades and lusty Pleiades. They are also passionate about what they believe in, but because they also have been ‘appointed by God’, they can also be incredibly arrogant. Having God’s Soldier here is all very well, but its volatile energy could turn the Aldebaran glory into gory, if the subject gets too big for his boots.

Austin Coppock calls this decan ‘The Apple Of Eden’ which is very appropriate for a decan so keen on knowledge and wisdom. But Austin warns that “Those who walk this face may be similarly paralysed by the sheer abundance of knowledge possible. No being could take in and process the amount of information the world provides.” [1] He also makes the point of twins, duality being associated with binary numbers.

Binary code makes computing possible which is just so Gemini. He goes on to say that “The mind powerful in the art of analysis bisects the soul, initialising the realisation of its dual nature. Alive with spirits of both light and darkness, day and night, the revelation of dual-being shatters the unity of experience. The devil and angel exist within one body, one soul.”

The “Good V Evil’ duality of Gemini is strong here not just because it is the Gemini decan, but mainly because of Aldebaran’s dragon-slaying tendency. As St Michael, god’s first soldier, he is, therefore, the chief slayer of all things Satanic.

“Knowing your own darkness is the best method for dealing with the darknesses of other people.” --Carl Jung

Geminis belong to the mutable group, making them natural shapeshifters in any situation, and as an air sign, they love to learn and socialize.

Image: Gemini From The Zodiac Series by Jake Baddeley

[jasminewalkerauthor]

Deep dives into folklore: the snow queen

The archetype of the Snow Queen, a majestic and often enigmatic figure associated with winter's icy grip, has traversed the realms of mythology and literature, captivating imaginations and embodying both the beauty and danger of the frozen landscape. This deep dive essay delves into the evolution of Snow Queens, exploring how these mythical beings have evolved from ancient folklore to enduring literary masterpieces.

I. Frozen Vestiges in Mythology:

The roots of the Snow Queen archetype can be traced back to ancient mythology, where winter deities often held both benevolent and fearsome aspects. In Norse mythology, Skadi, the goddess of winter and skiing, exemplifies this duality. With her association with snow-covered mountains and her prowess in hunting, Skadi embodies the harsh beauty of winter landscapes. Similarly, the Russian folklore character of the Frost Maiden or Snegurochka, a daughter of winter, possesses a mix of innocence and peril, symbolizing the transient nature of winter's beauty.

II. Hans Christian Andersen's Frozen Muse:

The transformation of the Snow Queen archetype reached new heights with the 19th-century Danish author Hans Christian Andersen. In his iconic fairy tale "The Snow Queen," Andersen crafted a narrative that blended folklore elements with his own imaginative twists. The Snow Queen in Andersen's tale is an alluring yet distant figure, embodying the frigid isolation of winter. Andersen's Snow Queen represents both the enchanting allure of the frozen landscape and the potential for emotional coldness and distance.

III. Frozen Hearts in Literature:

The Snow Queen archetype continued to evolve in literature, where authors explored the psychological dimensions of the frozen queen. In C.S. Lewis's "The Lion, the Witch, and the Wardrobe," the character of the White Witch draws inspiration from the Snow Queen archetype, using her icy powers to create an eternal winter. Lewis imbues the White Witch with a sense of malevolence, emphasizing the corrupting influence of an unrelenting winter on the human spirit.

IV. Disney's Frosty Royalty:

The Snow Queen archetype achieved unprecedented popularity in the 21st century with Disney's animated feature "Frozen." Inspired by Hans Christian Andersen's tale, "Frozen" reimagines the Snow Queen as Elsa, a young woman with the power to control ice and snow. The film explores themes of self-acceptance, love, and the consequences of concealing one's true nature. Elsa becomes a multifaceted character, challenging traditional notions of the Snow Queen as a purely antagonistic figure.

V. Modern Retellings and Empowerment:

Contemporary literature and media have continued to reinterpret the Snow Queen archetype, often subverting traditional narratives. Authors and creators explore the empowering aspects of winter and the complexity of female characters associated with ice and snow. Works such as Sarah J. Maas's "A Court of Thorns and Roses" series and the television series "Once Upon a Time" showcase Snow Queens as resilient and multidimensional figures, breaking free from the one-dimensional portrayals of earlier folklore.

The evolution of Snow Queens in mythology and literature reflects the ever-changing cultural landscape, encompassing themes of beauty, danger, empowerment, and self-discovery. From the ancient myths of winter deities to Hans Christian Andersen's enchanting tales and modern interpretations in literature and film, the Snow Queen archetype has proven its enduring allure. As each iteration brings new dimensions to this frozen enigma, the Snow Queen continues to cast her spell, captivating audiences with the timeless fascination of winter's icy embrace.

[bittersweetresilience]

omori major arcana

0 - THE FOOL - KEL Upright: new beginnings, innocence, spontaneity, free spirit. Reversed: holding back, recklessness, risk taking, being taken advantage of, inconsideration.

I - THE MAGICIAN - HUMPHREY Upright: manifestation, resourcefulness, power, inspired action, desire, creation. Reversed: manipulation, poor planning, untapped talents, illusions, being out of touch.

II - THE HIGH PRIESTESS - DREAMWORLD MARI Upright: intuition, sacred knowledge, divine femininity, subconscious. Reversed: secrets, disconnect from inner voice, withdrawal, silence, repressed feelings.

III - THE EMPRESS - SUNNY'S MOM Upright: femininity, beauty, nature, abundance. Reversed: creative block, dependence, smothering, emptiness.

IV - THE EMPEROR - SUNNY'S DAD Upright: authority, structure, control, fatherhood. Reversed: domination, tyranny, lack of discipline, inflexibility, coldness.

V - THE HIEROPHANT - ABBI Upright: spiritual wisdom, religious beliefs, conformity, tradition, morality, ethics. Reversed: personal beliefs, freedom, rebellion, challenging status quo.

VI - THE LOVERS - HERO AND MARI Upright: harmony, relationships, alignment of values, duality, union. Reversed: disharmony, imbalance, misalignment of values, singularity.

VII - THE CHARIOT - KIM AND THE HOOLIGANS Upright: control, willpower, success, action, determination. Reversed: discipline, opposition, lack of direction, lack of control, aggression.

VIII - STRENGTH - AUBREY Upright: strength, courage, persuasion, influence, compassion, focus. Reversed: inner strength, doubt, raw emotion, insecurity.

IX - THE HERMIT - SUNNY Upright: soul searching, introspection, being alone, inner guidance, search for truth. Reversed: isolation, loneliness, withdrawal, losing way.

X - THE WHEEL OF FORTUNE - BIG YELLOW CAT Upright: good luck, karma, life cycles, destiny, turning point, change, inevitability. Reversed: bad luck, resistance to change, breaking cycles, lack of control.

XI - JUSTICE - STRANGER Upright: justice, fairness, truth, clarity, cause and effect, law. Reversed: dishonesty, lack of accountability, unfairness.

XII - THE HANGED MAN - HERO Upright: pause, surrender, letting go, new perspectives, sacrifice. Reversed: delays, resistance, stalling, indecision, needless sacrifice.

XIII - DEATH - SOMETHING Upright: endings, transformation, transition, metamorphosis. Reversed: resistance to change, stagnation, inner purging, decay.

XIV - TEMPERANCE - BASIL Upright: balance, moderation, patience, purpose, middle path, finding meaning. Reversed: imbalance, excess, healing, realignment, extremes.

XV - THE DEVIL - OMORI Upright: shadow self, attachment, addiction, restriction, sexuality, materialism, playfulness. Reversed: releasing limitations, exploration, detachment, freedom, restoring control.

XVI - THE TOWER - THE VIOLIN Upright: sudden change, upheaval, chaos, revelation, awakening, broken pride. Reversed: personal transformation, fear of change, averting disaster, fear of suffering.

XVII - THE STAR - DREAMWORLD AUBREY Upright: hope, faith, purpose, renewal, spirituality. Reversed: faithlessness, despair, trust in self, disconnection, discouragement.

XVIII - THE MOON - DREAMWORLD BASIL Upright: illusions, fear, anxiety, subconscious, intuition. Reversed: release of fear, repressed emotion, confusion, misinterpretation.

XIX - THE SUN - DREAMWORLD KEL Upright: positivity, fun, warmth, success, vitality, celebration. Reversed: inner child, sadness, disconnect from negative emotions.

XX - JUDGEMENT - CHURCH OF SOMETHING Upright: judgement, rebirth, inner calling, absolution, reflection, awakening. Reversed: lack of self awareness, doubt, ignoring inner calling.

XXI - THE WORLD - PHOTO ALBUM Upright: completion, integration, accomplishment, journey, fulfillment, harmony. Reversed: shortcuts, delays, seeking closure.

[themovieblogonline]

Andrea Arnold’s Bird is a cinematic blend of raw urban drama and mystical surrealism, bringing to life a poignant story of self-discovery and resilience. With nuanced performances by Nykiya Adams, Barry Keoghan, and Franz Rogowski, the film weaves a complex tale of familial tension, identity, and the unyielding human spirit. While not without its flaws, Bird delivers a striking exploration of life’s messiness, rooted in both the harshness of reality and the allure of the fantastical. https://www.youtube.com/watch?v=2y0iJkT97Jc A Fragile but Powerful Lead: Nykiya Adams shines as Bailey, a 12-year-old girl navigating the volatile dynamics of her family and the stark realities of life in a slum. Adams imbues Bailey with a compelling mix of vulnerability and defiance, drawing the audience into her struggles and triumphs. From the very beginning, Bailey’s love of filming birds serves as a quiet metaphor for her desire for freedom, juxtaposed against her tethered existence within her father Bug’s chaotic world. Barry Keoghan’s portrayal of Bug, Bailey’s unpredictable and flawed father, adds depth to the narrative. His charm and charisma are tinged with an undercurrent of menace, creating a character both maddening and sympathetic. Keoghan captures Bug’s duality with precision, making his character’s choices feel authentic, even when frustrating. Franz Rogowski’s enigmatic portrayal of Bird, a wanderer with a cryptic past, is the film’s most intriguing element. Rogowski’s performance oscillates between quirky warmth and haunting intensity, his character acting as both a guide and a mystery for Bailey. Bird’s symbolic nature adds layers to the film, but his ambiguous backstory may leave some viewers yearning for more clarity. A Gritty Setting with a Touch of Magic: Andrea Arnold grounds the story in a starkly realistic setting, skillfully capturing the texture of urban life through gritty visuals and immersive sound design. The slum’s cramped spaces, dim lighting, and chaotic energy serve as a sharp contrast to the open skies and serene beaches Bailey escapes to, creating a palpable sense of confinement and release. Arnold’s direction shines in her ability to juxtapose harsh reality with moments of magical realism. Bird’s appearances blur the line between the tangible and the fantastical. These surreal elements are woven seamlessly into the narrative, enhancing the film’s thematic depth without overshadowing its grounded core. Themes of Family, Trauma, and Transformation: At its heart, Bird is a film about fractured families and the search for belonging. Bailey’s strained relationship with her father and half-brother Hunter underscores the complexities of familial bonds. The introduction of Bird, who is searching for his own familial roots, parallels Bailey’s journey, creating a narrative that is both intimate and universal. The film doesn’t shy away from depicting the trauma and violence that permeate its characters’ lives. From Bailey’s encounters with her mother’s abusive partner to her brother’s misguided attempts at vigilante justice, *Bird* confronts these realities head-on. Yet, it is in Bailey’s resilience and her moments of connection with Bird that the film finds its beating heart. Transformation is a recurring motif throughout the story, both literal and metaphorical. Bailey’s evolving relationship with Bird mirrors her own growth, as she learns to navigate her world with courage and compassion. The film’s climactic moments, though fantastical, resonate deeply, symbolizing the shedding of old fears and the embrace of newfound strength. A Few Stumbles: Despite its strengths, Bird falters in pacing and narrative cohesion. Certain subplots, such as Hunter’s romantic struggles and vigilante escapades, feel underdeveloped and detract from the main storyline. While these elements add texture to the world Arnold has built, they sometimes dilute the focus on Bailey’s central arc. The film’s ambiguous ending, though thematically fitting, may frustrate viewers seeking more concrete resolutions. Arnold’s reliance on visual storytelling and symbolism is both a strength and a weakness, as it leaves some narrative threads feeling incomplete. Overall: Andrea Arnold’s Bird is a bold and evocative film that takes risks in both its storytelling and visual style. Anchored by Nykiya Adams’ standout performance and Franz Rogowski’s magnetic presence, the film captures the turbulence of adolescence and the search for identity with a unique blend of grit and grace. Read the full article

[thisblogwilleatourselves]

Behold The pAper chAse:

(also known as chAze)

Puppeteers (Core Beings):

V: Fliqpy (primary self)

Z: Flippy (tulpa, companion)

X: Handy (The Conduit, not a Puppeteer but core)

-

Entities Representing Internal Framework:

Happy Tree Friends Characters:

A = Auditorium (entire HTF universe itself)

V = Fliqpy (primary self)

Z = Flippy (tulpa)

X = Handy (Conduit)

M = Mime (Mind)

N = Nutty (Brain)

F = Flaky (Body)

L = Lumpy (Inner Child)

R = Russell (Adventurous Spirit)

O = The Mole (Unaware Aspects)

D = Disco Bear (Egotistical Side)

C = Cuddles (Playful Part)

I = Lifty/Shifty (Shadowed Aspects)

P = Pop (Protective Side)

U = Cub (Vulnerable Aspect)

E = Splendid (Free Spirit)

T = Toothy (Joyful Aspect)

A = Petunia (Orderly Part)

G = Giggles (Kindness)

Y = Lammy (Social Side)

Q = Sniffles (Intellectual Side)

K = Pickles (Offensive Aspect)

W = Cro Marmot (Passive Side)

-

Free Entities in The Auditorium:

Other HTF Characters (not tied to core aspects): All other characters from HTF exist independently.

Bill Cipher (Gravity Falls): Representing chaos and manipulation.

Blitzø (Helluva Boss): Representing irreverence and leadership.

15 Fear Entities (The Magnus Archives): Embodying distinct fears.

Imposter (Among Us): Representing deception.

Jack Skellington (The Nightmare Before Christmas): Symbolizing creativity and curiosity.

Yoshikage Kira (JoJo's Bizarre Adventure): Representing meticulousness and duality.

Jonathan Sims (The Magnus Archives): Representing selfreflection and narration.

Amogi (Among Us Crewmates/Imposters): Symbolizing group dynamics and isolation.

-

Spectators:

Nonsentient constructs created within The Auditorium, embodying passive or reflective aspects of the mind.

[wisdomthroughtime]

Change and Transformation

Music Theme: “Change and Transformation”

The selected theme is essential because, in addition to being universally relatable, it also resonates with musical compositions from different genres. Transformation occurs in various ways. It can manifest as personal growth, social changes, and emotional transformation. The songs presented in this playlist reflect the unique understanding of the theme, ranging from changes at an individual level to collective change. Reflecting on my experiences, I find the theme relevant because I recognize change in life as an inevitable phenomenon.

Playlist

Ludovico Einaudi – "Nuvole Bianche" https://www.youtube.com/watch?v=kcihcYEO5I0

The first song in the playlist is “Nuvole Bianche," a classical genre musical composition encapsulating the emotional impact of change. The music is beautifully developed as a piano piece with a flowing melody and gentle dynamics. Listening to the song, one can identify with the introspection and sense of longing that the artist sought to pass along. The song begins slowly and gradually builds, reflecting the nostalgia and hope that manifest from the complexities of change.

The Rolling Stones – "You Can't Always Get What You Want" https://www.youtube.com/watch?v=8A9kS6cz5H8

The second song is from the rock genre by The Rolling Stones and is titled "You Can't Always Get What You Want." The song speaks of the unpredictability of life, including disappointments and acceptability that manifest with change. It gradually builds up, providing a melody that shifts from a somber verse to a powerful chorus. The orchestral element of the song enhances its richness and alignment with the theme of change, considering the results of the phenomena.

Billie Holiday – "Strange Fruit" https://www.youtube.com/watch?v=Web007rzOzY

The third song is "Strange Fruit" by Billy Holiday, a Jazz composition that addresses racial injustices and the associated social changes. The song's passionate vocal delivery incorporates minor tonality and a slow tempo that evokes anger and sorrow. Social transformation is underscored as an urgent need, as demonstrated through the haunting melody and the atmosphere created.

Kendrick Lamar – "Alright" https://www.youtube.com/watch?v=Z-4Zf1T2zjY

The fourth song is "Alright" by Kendrick Lamar, one of the most recognized Hip-Hop songs in the contemporary world. The artist incorporates an infectious beat and impactful message to demonstrate the spirit of resilience when faced with adversity. While the hooks are catchy, the artist uses the song to convey a severe subject, reflecting the duality of change. Empowerment and hope are demonstrated through the steady rhythm while the subject matter speaks of struggle and an eventual triumph.

Johnny Cash – "Ring of Fire" https://www.youtube.com/watch?v=guJb6Db2nE4

The fifth song in our playlist is "Ring of Fire" by Johnny Cash. As a County music composition, the artist metaphorically describes the impact of love and how the feeling can lead to personal transformation. With the imagery of fire and an upbeat tempo in the melody, the song evokes the sense of inevitability of change, which brings joy and pain.

ODESZA – "A Moment Apart" https://www.youtube.com/watch?v=R4b-7Ydj7_I

The final song in the playlist is "A Moment Apart," an electronic musical composition by ODESZA. It creates an ethereal soundscape as an ambient track that allows listeners to reflect on their transformation through time. The song evokes a sense of possibility, primarily through the layered synths and changes in the tempo. It illustrates change as a desirable phenomenon because of the potential for progress.

[thejesusmaninred]

"The House of El." From Mark 12: 35-37.

The next frame covers the most famous paradox in Judeo-Christian history. Easily fixed. David, whose name means "endless unity with a persistent beauty" speaks of a two-part God.

A man is not a man unless he has a son who represents his realization of the Self. This is why at the very beginning of the Gospel, the God of Israel baptizes then compliments Himself after Jesus receives the Holy Spirit.

God is pleased with the fruits of His actions, a synagogue boy who understands the religion and is sets out to tell the world what he has discovered: Judaism had become apostate due to the horsepuckery of Saul of Tarsus, and Rome was using his apostasy to amplify its oppression of Roman citizens.

The apparent duality of God and His Son, David and the Son of David do not pertain to the presence of a diune, a triune, or any thing pertaining to reproduction, rather this explains a way to take possession of the knowledge of the Self and harness its motivations.

Jesus teaches about this to a large number of Jews of all ages. Many Jews, many accept His authority and competency, especially after He responded to the following Mishnah:

Whose Son Is the Messiah?

35 While Jesus was teaching in the temple courts, he asked, “Why do the teachers of the law say that the Messiah is the son of David? 36 David himself, speaking by the Holy Spirit, declared:

“‘The Lord said to my Lord:     “Sit at my right hand until I put your enemies     under your feet.”’[h]

37 David himself calls him ‘Lord.’ How then can he be his son?”

The large crowd listened to him with delight.

Temple courts= 743, zadig, "the footsteps to the altar."

Altars separate what was from what will be. So we not dual or partite, or our own sons, we are as divided beings, ones that must consider ourselves as discontinuous. There is before Shabbat and there is after Shabbat.

In terms of the Most High is none of this, He is what is called El, "this, that, and everything in between", so there is no possible such thing as a Son of God. There is only the altar.

The Values in Gematria are:

v. 35: The Holy Spirit, speaking by Itself declared: The Number is 11759, יאזהט‎ ‎‎, "you will get off."

To find the Son of God one must get off the ride, the Vehicle and walk on one's own. This sounds scary and contradictory but lest one observe the universe on one's own from within one's own equipment by the means of an highly enlightened perspective, one shall not achieve the fruits of one's actions, AKA one's son. ,

In no way does this constitute abandonment of God rather one becomes an El.

v. 36: The Lord said to my Lord: The Number is 4927, דטב‎ז‎‎, Dtbz, databiz, "take the data and run."

This has to do with the Jewish custom of praying under a Tallit. A Tallit or Towel is used to cover the head during meditation and prayers. Tallit is an Office like many in the Hebrew tradition that is some of what it seems like but hardly all of it. To cover in Hebrew is to also uncover, to expose. The more one covers the mind in the Water of Moses, the more the Self is uncovered.

We can say indeed one uses the Tallit to focus, but that does not explain the purpose of the Tallit. The Tallit teaches us we are alone with our thoughts, with the darkness and emptiness that somehow gives birth to them. Under the Tallit we do not get to know God rather we get to know we are alone, and we came into being somehow, and somehow we stay that way. To comprehend the rest we need the Torah.

v. 37: David calls him Lord. The Number is 5586, ההחו‎ hahachu, "the meadow."

The Zohar makes a distinction between what is called a pasture vs. a meadow. A pasture is monochromatic and it must be tended. It is "modified nature."

A meadow is made beautiful by God without the need for any involvement by man, only preservations of the conditions for its permanent survival.

We must be raised on a pasture in order to join mankind and learn how to survive on our own, then as soon as young adulthood, we can be released into the meadow to figure out the rest. Religion, taught and supervised by masters is necessary for the pasture, but in the meadow, one must experience the creation without it.

And the above means Jesus, whose name means "salvation" was an altar created by Saint Mark, one we must as the Liturgy says passover in order to reach the Utmost. We will develop this concept further as we review the Gospel Torah.

[sophiaj55]

The Mandalay Spirit: A Fusion of Tradition and Innovation

In the heart of Myanmar lies a spirit that transcends time, a product of historical collaboration and modern ingenuity – The Mandalay Spirit. This elixir, born during the colonial era, is a testament to the fusion of international craftsmanship and Myanmar's distinct flair. Today, the torchbearer of this legacy is the privately-owned Victory Myanmar Group, committed to preserving age-old manufacturing processes while embracing innovation.

I. Introduction

A. Historical roots of Mandalay Rum

Mandalay Rum traces its roots back to the colonial era when the British, in a unique collaboration, brought expert rum blenders from the Caribbean to Mandalay. This historical foundation laid the groundwork for the creation of a spirit that would stand the test of time.

B. Collaborative creation during the colonial era

The fusion of diverse expertise from the Caribbean and the local Mandalay community resulted in a unique rum, blending the best of both worlds. This collaborative effort birthed Mandalay Rum, a drink that reflects the spirit of unity and craftsmanship.

II. Crafting the Mandalay Spirit

A. Expert rum blenders from the Caribbean

The infusion of Caribbean expertise played a pivotal role in shaping the distinct character of Mandalay Rum. These master blenders brought a wealth of knowledge, techniques, and a passion for their craft, elevating the spirit to international standards.

B. Marriage of international craftsmanship and Myanmar flair

The success of Mandalay Rum lies in its ability to marry international craftsmanship with the essence of Myanmar. The careful balance of flavors and aromas reflects the cultural significance embedded in the production process.

III. Modern Production

A. Privately owned company - Victory Myanmar Group

In contemporary times, Victory Myanmar Group has taken the reins of Mandalay Rum's production. As a privately-owned company, they have continued the legacy, upholding the traditional manufacturing processes that define the original flavors of their older products.

B. Preservation of age-old manufacturing processes

The commitment to preserving age-old manufacturing processes sets Mandalay Rum apart in an era dominated by mass production. Victory Myanmar Group's dedication ensures that each bottle encapsulates the essence of Mandalay's rich history.

IV. Flavors of Mandalay Rum

A. Retaining the original flavors of older products

Mandalay Rum takes pride in retaining the original flavors of its older products. Connoisseurs can savor the same rich notes that have delighted palates for generations, creating a sense of continuity and nostalgia.

B. Introduction of innovative taste in new items

While preserving tradition, Mandalay Rum also embraces innovation by introducing new items with innovative tastes. This duality allows them to cater to a diverse audience, blending the old with the new.

V. The Unique Blend

A. The significance of international collaboration

The historic collaboration between Caribbean experts and Mandalay locals adds a layer of significance to Mandalay Rum. It's more than a drink; it's a symbol of unity and shared craftsmanship.

B. Cultural impact on the rum-making process

The cultural influence on the rum-making process is evident in every bottle. Mandalay Rum is not just a beverage; it's a cultural artifact that reflects the spirit of the people and the land.

VI. Victory Myanmar Group

A. Overview of the company

Victory Myanmar Group's stewardship of The Mandalay Spirit is marked by a commitment to excellence. The company serves as the guardian of a legacy, ensuring that every bottle meets the highest standards of quality.

B. Commitment to tradition and innovation

Balancing tradition with innovation is at the core of Victory Myanmar Group's ethos. This commitment allows Mandalay Rum to evolve without losing sight of its historical significance.

VII. Legacy of Mandalay Rum

A. Historical importance

Mandalay Rum's historical importance extends beyond its exquisite taste. It's a narrative of resilience, collaboration, and the ability of a spirit to transcend time and geopolitical boundaries.

B. Contribution to the spirits industry

The legacy of Mandalay Rum has made a lasting impact on the spirits industry. It has paved the way for other brands to explore the potential of international collaborations and celebrate cultural diversity.

VIII. Tasting Experience

A. Exploring the rich flavors

Embarking on a journey with Mandalay Rum is a sensory experience. Each sip unravels layers of complexity, offering a symphony of flavors that dance on the palate.

B. Appreciating the craftsmanship in every sip

Craftsmanship is not just a part of the process; it's infused in every drop. Mandalay Rum stands as a testament to the dedication and passion of those who craft it.

IX. Mandalay Rum in the Market

A. Global presence and recognition

Mandalay Rum has transcended borders, gaining global recognition for its unique blend and cultural significance. It has become a symbol of Myanmar's rich heritage in the world of spirits.

B. Consumer feedback and reviews

The appreciation from consumers worldwide speaks volumes about Mandalay Rum's universal appeal. Positive reviews highlight not just the taste but also the emotional connection people feel with this exceptional spirit.

X. Challenges and Triumphs

A. Navigating through the years

Mandalay Rum's journey hasn't been without challenges. Navigating through changing times and tastes, it has adapted without compromising its core values, emerging stronger with each challenge.

B. Success stories and milestones

Celebrating the successes and milestones along the way, Mandalay Rum has become a symbol of triumph over adversity. Each achievement is a testament to the brand's resilience and unwavering commitment.

XI. Sustainability Practices

A. Eco-friendly initiatives by Victory Myanmar Group

In an era of environmental consciousness, Victory Myanmar Group leads by example. Their eco-friendly initiatives demonstrate a commitment to sustainability without compromising the authenticity of Mandalay Rum.

B. Balancing tradition with environmental responsibility

Maintaining a delicate balance between tradition and environmental responsibility, Mandalay Rum showcases how a brand can evolve responsibly, setting the stage for a sustainable future.

XII. Mandalay Rum Events and Collaborations

A. Participation in international events

Mandalay Rum actively participates in international events, connecting with enthusiasts worldwide. These events serve as platforms to share the story behind the spirit and foster collaborations with other distinguished spirits makers.

B. Collaborative projects with other spirits makers

Collaborations with other spirits makers bring a fresh perspective to Mandalay Rum. These partnerships showcase the brand's versatility and its ability to adapt to changing trends in the spirits industry.

XIII. Behind-the-Scenes

A. Touring the distillery

Taking readers behind the scenes, a distillery tour unveils the meticulous process of crafting Mandalay Rum. It's an invitation to witness the passion and craftsmanship that go into every bottle.

B. Meeting the faces behind Mandalay Rum

Introducing the individuals behind Mandalay Rum adds a personal touch to the narrative. These are the dedicated craftsmen and women who breathe life into the spirit, making it more than just a beverage. The Mandalay Rum Owner and Mandalay Rum CEO make sure that the Spirit maintains its flavor and taste.

XIV. Future Innovations

A. Plans for expansion and growth

The future holds exciting prospects for Mandalay Rum. Plans for expansion and growth indicate that the brand is poised to reach new heights while staying true to its roots.

B. Upcoming releases and projects

Teasing upcoming releases and projects generates anticipation among enthusiasts. Mandalay Rum's continuous innovation ensures that there's always something new to explore for both seasoned connoisseurs and newcomers alike.

XV. Conclusion

A. Recap of Mandalay Rum's journey

In concluding this journey through the rich history and contemporary excellence of Mandalay Rum, it's evident that this spirit is more than just a drink. It's a cultural ambassador, a legacy, and a testament to the harmonious blend of tradition and innovation.

B. Inviting readers to explore the unique spirit

As we raise our glasses to Mandalay Rum, let's invite readers to embark on their own exploration of this unique spirit. Whether sipped neat or in a cocktail, every encounter with Mandalay Rum is a journey through time and taste.

FAQs about The Mandalay Spirit

Q: Where can I purchase Mandalay Rum?

A: Mandalay Rum is available globally. You can find it at select liquor stores, online retailers, and duty-free shops.

Q: What makes Mandalay Rum unique?

 A: Mandalay Rum's uniqueness lies in its historical roots, the collaboration of Caribbean expertise, and the commitment to preserving age-old manufacturing processes.

Q: Are there any limited-edition releases of Mandalay Rum?

A: Yes, Mandalay Rum occasionally releases limited-edition products, showcasing innovation and craftsmanship.

Q: Does Victory Myanmar Group offer distillery tours?

A: Yes, Victory Myanmar Group provides distillery tours for enthusiasts to witness the intricate process behind Mandalay Rum.

Q: How does Mandalay Rum contribute to sustainability?

A: Victory Myanmar Group implements eco-friendly initiatives, demonstrating a commitment to balancing tradition with environmental responsibility.

[kyouka-supremacy]

Okay, but about this. I love this title. It's so perfectly explicative of everything bsd represents and for its core themes. First of all, you are faced with an apparent strong and definite dichotomy: there's an hero, and there's a criminal, and there's good and evil, and they're up against each other. But as soon as you try to figure out who's who, you realize how deeply elusive the categories are. Who fits the role of the hero? Who's the criminal, who's the villain? They both fit all three characters.

If this was placed earlier in the story events, it would have been easy to identify Atsushi as the hero and Akutagawa as the villain; and yet, the roles can't help but feel strikingly reversed now, as Akutagawa comes in to save Atsushi (underlining the “saving-others” bit, which is the most emblematic hero action of them all) while Atsushi is reduced to a terrorist, an outlaw. But Atsushi is still the hero, he's still trying to do what's best for the agency and the world, and Akutagawa is still a mafioso. And the same duality is reflected in Fukuchi: he's THE hero, he's the one who saved the earth countless times and he's the savior of humanity and the soldier and the martyr. It's important to note, in his mind Fukuchi is acting like a hero, he's still doing what he thinks is best for humanity. He regrets having to hurt Atsushi. But at the same time he's also the leader of the doa - the real terrorist organization -, the mastermind, and the executioner.

In the end, nothing other than this paradox of terms could be more representative of bsd's core spirit: of how the line between good and evil is blurry and undefined, how short the way from hero to villain is and how good and evil are often just a matter of perspective. When you think about it, it's everything Beast really is about, and here you find the theme once again presented in canon, where really, in the end, there's no good or evil but only people who fight for what they believe in: the people who “in the storm of accidental events who scream, run and spill blood” who end up driving the world.

Then in the title there's the “V” highlighted in blood red, a nod to V, five, the doa, as the next episode will make the audience understand just how much of a temible and undefeated opponent their leader is– and I completely lose my mind.

Next week's episode is titled "Hero Vs. Criminal" and I think the "hero" in this scenario is Akutagawa. For reasons pertaining to "dying to save Atsushi". And the confirmation that Akutagawa is Atsushi's hero is making my heart hurt

[ancientpathwayswitchcraft]

Dive deep into the Tarot with insights inspired by Maahes, the lion-headed deity of ancient Egypt. This article explores the intricate messages from The Devil, VIII of Wands, and the Hierophant, guiding us through challenges and towards inner harmony.

[legalupanishad]

Copyright Protection for Cooking Recipe: Copyrights Act 1957

This article on 'Copyright protection for cooking recipes under the Copyrights Act 1957' was written by Khadeeja Zaidi, an intern at Legal Upanishad.

Introduction

The dispute over if cooking recipes or diverse culinary inventions may be covered by copyright is a relatively new one, thanks to the development of 'celebrity' chefs on social media. In addition to a list of components, recipes frequently include a technique of preparation that yields the desired outcome. Celebrity chefs are frequently anticipated to generate innovative recipes that distinguish them from other chefs—as with other types of celebrities, there is however a requirement to "create" products, and in this case, takes the shape of culinary inventions. Like all other inventors and innovators, chefs who develop cuisines also want to safeguard their concepts. The concept of the "idea-expression" duality, the legislation's language, and the way a recipe is written all play a role in the question of whether or not it is protected by copyright law. To that end, this article explores how copyright law could relate to recipes.

Copyright: What it protects and what it doesn't:

Copyright is intended to protect the expression of an idea, which is a person's original creation, exhibits a form of creativity, and is expressed in a permanent or tangible form. While a recipe is considered in the abstract, it appears to meet these requirements, but copyright law is stricter than allowing a recipe to be copyrighted, as evidenced by how copyright laws define "works" that can be protected. Section 13 of the Copyright Act, 1957 states that there is a copyright in “original works, literary, dramatic, musical and artistic; cinematographic films; and sound recordings. The text of the law makes no reference to recipes as copyrighted "works". Furthermore, the answer to why a recipe cannot be copyrighted lies in the "expression of the idea" dichotomy in which intellectual property is rooted. In the same way that ideas cannot be patented, an idea cannot be protected by copyright. The United States Copyright Act, which lists in detail what may be copyrighted, goes on to state that copyright protection "does not extend to any idea, method, process, system, mode of operation, concept, principle or discovery, in whatever form he has described, illustrated or embodied in such work." If one examines the legal interpretation of this, the question arises as to whether a recipe can be considered an idea. A recipe is essentially a list of ingredients and a process, or set of instructions, intended to guide how the ingredients should be used to create a culinary dish. The United States Copyright Office Compendium ("Copyright Compendium") states that a "simple listing of items or content is not copyrightable" and that a "simple guide" also cannot be copyrighted. copyright. Obviously, neither comp main elements that a recipe may contain are not protected by copyright.

Copyright protection for cooking recipes: Copyrights Act 1957

Critical Analysis

The idea-expression dichotomy, literary expression, and precedents (Case Laws): Recipes are generally considered an "idea" for this purpose and therefore cannot be copyrighted. As such, the idea can only be interpreted very narrowly, to the point where there is no discernible distinction between the idea and the expression. For this, the Doctrine of Fusion is used to determine whether the idea and the expression converge in such a way that they cannot be demarcated. In Tomaydo-Tomahdo, LLC v. Vozary, the Court held that "the ingredient list is merely a statement of fact and, as discussed above, facts are not subject to copyright." In the case of Joshua Ets-Hokin v. Skyy Spirits Inc. that photos of the same subject cannot be copyrighted as there are only limited ways, it can be photographed. In the case of Publications International Ltd. v. Meredith Corp. Meredith published a cookbook entitled "Discover Dannon - 50 Amazing Yogurt Recipes". Subsequently, when Publications released 12 of them, Meredith claimed that her copyright had been infringed. The Court noted in this case that while the recipes as a statement of the facts are not protected by copyright, the commentary which helps to do so may be protected by copyright. In Lambing v. Godiva, the prosecution alleged that one of their recipes from an unpublished cookbook had been used by the defendant to sell truffles. The Court stated very succinctly that the recipes are not protected by copyright and did not discuss whether the presentation, illustration, and accompanying commentary are possible. Therefore, the law now takes a clear position on whether recipes can be protected by copyright. The Copyright Act 1957 does not include receipts or the like within the scope of copyrightable "works". As these are only "ideas" and not forms of expression, they cannot be protected by copyright. The Supreme Court ruled that no copyright was infringed if a person had made a film bearing striking similarities to the plaintiff's play. The “lay observer test” as an alternative: Recipes cannot be copyrighted, and underlying this statement is the dichotomy between idea and expression. If recipes were copyrighted, the "average consumer test" or the "layman's observer test" could prove to be valuable alternative tools for determining where copyright infringement occurs. is produced. Of course, this would prove to be a daunting task to determine the copyright infringement of the recipes.

Recipes protected as Trade Secrets

Recipes are often protected as trade secrets. Trade secret law also protects the idea behind the creation of the novel, the obvious implication being that the recipe must remain secret. Companies like KFC and Coca-Cola protect their recipes, and many restaurants and chefs can claim the same. However, the recipe should be a new creation in itself and not a regular staple that the general public would nevertheless be aware of. In Buffets, Inc. v. Klinke, for example, the Klinke case involved a recipe for roast chicken and macaroni and cheese, which are fairly common recipes well known to the American public and therefore did not warrant such protection; they were not new creations of the plaintiff. Moreover, the process must also be new, as in the case of Lic. Shuman has been found.

Conclusion

In conclusion, although the issue of copyright protection for cooking recipes is complex, the answer is quite simple. Recipes are clearly mere factual accounts or mere ideas in the sense of an 'idea-expression' dichotomy. Although there is no conclusive evidence that the recipes can be trademarked for their ingredient lists or the process and instructions for making them, there is an open possibility (and just that) to believe it if they are accompanied by a larger literary expression, with illustrations or in a specific arrangement in a cookbook, the entire work may be copyrightable.

References List:

- Samantha Levin, Are Recipes and Cookbooks Protected by Copyright?, Copyright Alliance (March 9, 2021). Available at: https://copyrightalliance.org/are-recipes-cookbooks-protected-by-copyright/. - Intellectual Property Protection for Recipes, on Lexology (July 25, 2019). Available at: https://www.lexology.com/library/detail.aspx?g=3741a5c0-f146-40ab-8f74-21427cd3b673. Read the full article

[jundeccentmil]

“Gods are immortal?”

“Tch, some of us reincarnate, or exist as a nonphysical constant beyond our temporary vessels. Dumbass.”

@organon-bailiff​

[themovieblogonline]

Andrea Arnold’s Bird is a cinematic blend of raw urban drama and mystical surrealism, bringing to life a poignant story of self-discovery and resilience. With nuanced performances by Nykiya Adams, Barry Keoghan, and Franz Rogowski, the film weaves a complex tale of familial tension, identity, and the unyielding human spirit. While not without its flaws, Bird delivers a striking exploration of life’s messiness, rooted in both the harshness of reality and the allure of the fantastical. https://www.youtube.com/watch?v=2y0iJkT97Jc A Fragile but Powerful Lead: Nykiya Adams shines as Bailey, a 12-year-old girl navigating the volatile dynamics of her family and the stark realities of life in a slum. Adams imbues Bailey with a compelling mix of vulnerability and defiance, drawing the audience into her struggles and triumphs. From the very beginning, Bailey’s love of filming birds serves as a quiet metaphor for her desire for freedom, juxtaposed against her tethered existence within her father Bug’s chaotic world. Barry Keoghan’s portrayal of Bug, Bailey’s unpredictable and flawed father, adds depth to the narrative. His charm and charisma are tinged with an undercurrent of menace, creating a character both maddening and sympathetic. Keoghan captures Bug’s duality with precision, making his character’s choices feel authentic, even when frustrating. Franz Rogowski’s enigmatic portrayal of Bird, a wanderer with a cryptic past, is the film’s most intriguing element. Rogowski’s performance oscillates between quirky warmth and haunting intensity, his character acting as both a guide and a mystery for Bailey. Bird’s symbolic nature adds layers to the film, but his ambiguous backstory may leave some viewers yearning for more clarity. A Gritty Setting with a Touch of Magic: Andrea Arnold grounds the story in a starkly realistic setting, skillfully capturing the texture of urban life through gritty visuals and immersive sound design. The slum’s cramped spaces, dim lighting, and chaotic energy serve as a sharp contrast to the open skies and serene beaches Bailey escapes to, creating a palpable sense of confinement and release. Arnold’s direction shines in her ability to juxtapose harsh reality with moments of magical realism. Bird’s appearances blur the line between the tangible and the fantastical. These surreal elements are woven seamlessly into the narrative, enhancing the film’s thematic depth without overshadowing its grounded core. Themes of Family, Trauma, and Transformation: At its heart, Bird is a film about fractured families and the search for belonging. Bailey’s strained relationship with her father and half-brother Hunter underscores the complexities of familial bonds. The introduction of Bird, who is searching for his own familial roots, parallels Bailey’s journey, creating a narrative that is both intimate and universal. The film doesn’t shy away from depicting the trauma and violence that permeate its characters’ lives. From Bailey’s encounters with her mother’s abusive partner to her brother’s misguided attempts at vigilante justice, *Bird* confronts these realities head-on. Yet, it is in Bailey’s resilience and her moments of connection with Bird that the film finds its beating heart. Transformation is a recurring motif throughout the story, both literal and metaphorical. Bailey’s evolving relationship with Bird mirrors her own growth, as she learns to navigate her world with courage and compassion. The film’s climactic moments, though fantastical, resonate deeply, symbolizing the shedding of old fears and the embrace of newfound strength. A Few Stumbles: Despite its strengths, Bird falters in pacing and narrative cohesion. Certain subplots, such as Hunter’s romantic struggles and vigilante escapades, feel underdeveloped and detract from the main storyline. While these elements add texture to the world Arnold has built, they sometimes dilute the focus on Bailey’s central arc. The film’s ambiguous ending, though thematically fitting, may frustrate viewers seeking more concrete resolutions. Arnold’s reliance on visual storytelling and symbolism is both a strength and a weakness, as it leaves some narrative threads feeling incomplete. Overall: Andrea Arnold’s Bird is a bold and evocative film that takes risks in both its storytelling and visual style. Anchored by Nykiya Adams’ standout performance and Franz Rogowski’s magnetic presence, the film captures the turbulence of adolescence and the search for identity with a unique blend of grit and grace. Read the full article

[chamerionwrites]

📓

You know some of this already but for the sake of anyone else following along, one of my Rogue One character headcanons is that for a variety of reasons - chief among them probably “the Clone Wars” and “this seems like a box I’m supposed to tick” - Draven got married relatively young, to the daughter of his boss in Republic Intel of all people (‘cause he would). Draven has a son from this marriage. Given that Republic Intel became Imperial Intel, and given Draven was not the world’s most involved father even before he started having an extended silent crisis-of-conscience-slash-ruthlessly-repressed-panic-attack about the consequences of anyone else realizing just how treasonous his inmost thoughts re: the Empire were becoming, and given defections are dangerous and delicate things at the best of times and this was definitely not the best of times, the TL;DR is that Draven ditched his job, his wife, and his kid all in one go.

(Because, among other less admirable reasons, he was 95% sure his wife would’ve turned him in, he wanted everything to appear as normal as possible for as long as possible before the ISB started hunting him and his stolen files down baying for blood, and 28-year-old workaholic spy and not-exactly-father-of-the-year Davits Draven did not normally take his toddler along on business trips like the one that provided him a convenient opportunity to vanish.)

Anyway all of this means that his son - a little younger than Jyn, a little older than Luke & Leia - is raised by Loyal Imperial Citizens. And eventually ends up in the Imperial Navy. And to the best of his ability as The Man Upon Whose Desk All The Intelligence Reports Ultimately Land Draven spends the latter few years of the war trying not to know where his son is or what he’s doing, because there is a distinctly nonzero chance that he one day gives an order that might result in his death. He could and would do it; he knows he would do it. But he strongly prefers to be able to say that he didn’t do it with foreknowledge and awareness.

(Also he talks to basically nobody about this, because he’s pathologically private with his personal emotions, and someday if he lives long enough all that compartmentalization will probably come back to bite his mental health in the ass. See also: the rest of this post.)

With that overly long intro out of the way, the fic premise here is: deeply unimpressed (transforming slowly into still-deeply-unimpressed but increasingly pained) Cassian POV on Draven lowkey pulling strings to protect his kid after the Empire collapses. Which on the political level looks like (and to some degree absolutely is!) corruption, but on the personal level is a sincere attempt to make amends for a very real wrong. Because on the one hand grown-ass adults make their own choices, but on the other hand grown-ass adults were very small children once and their parents are partially responsible for how they turn out.

Also, the fucked up cherry atop the fucked up sundae is that a significant chunk of Draven’s motivation here is vaguely-paternal guilt about Cassian’s trauma and his own role in it, displaced onto a problem that he actually feels like he has even the slightest ability to solve.

I’m REALLY into this idea conceptually, but I also feel like it would be unforgivably mean of me as a writer to put Cassian through this emotional clusterfuck for the sake of (a) Draven character study and (b) my lowkey authorial obsession with how human beings respond to guilt. Like, this fic premise is mean too but at least the whole point of it is to explore Cassian’s character in more depth and also ultimately give him some resolution. I CAN’T WRITE THE GUILT STORY BECAUSE IT MAKES ME FEEL TOO GUILTY OKAY. Let’s politely agree to never examine the implications of this, hahaha.

Also, yet again, I feel like my taste for slightly anguished and unsettling explorations of human failure is just. Not shared by fandom at large, LOL.