biblical tale

I usually don’t like posting low resolution images (for me: anything below 5MB) but this photo of the pulpit of Saint Hedwig’s parish church in Dobroszow, Poland was too good to pass up. Its corpulent cetacean form no doubt alludes to the Biblical tale of Jonah and the whale, and could have been a warning to rambling clerics to “say what needs to be said.”

anonymous asked:

Hi! Happy New Year! Could you guys create a tag for god/demigod and/or mythology? Like for example, Greek mythology AUs? Thanks!!


Anonymous said:Hi! Love the blog and all the work you guys do :) I was wondering if y'all could create a mythology tag? I don’t really have a preference for pairings or for where the myths come from (greek, norse, biblical tales, japanese, etc etc) Thanks <3

Here’s a few to get a tag started! - Anastasia

Originally posted by erwything

Learning to Live Again by cywscross

(1/1 I 6,824 I Teen I Steter)

They’re both different these days, the way a window or a mirror is different after it’s been broken and then glued back together. But they cover each other’s cracks, and most days, that’s enough.

Half-blood by jamesm97

(5/? I 7,013 I Teen I Sterek I MCD)

A new child of the oldest gods shall rise
To save camp half-blood will be his greatest prize
His love and death will go hand in hand
The loss and hurt he might not withstand

“Rachel? You okay?” Annabeth asks concerned for her friend.
“Not really, I have a feeling this next prophecy is going to be a tough one” She replies back getting up off the ground where she collapsed.
“As if we haven’t had enough of them to last us a life time” Percy huffs walking over to help her off the ground.

Stiles powers are awakening and he’s about to learn the monsters want to kill him for whatever twisted way.

A Flower in Winter by Dexterous_Sinistrous

(1/1 I 7,173 I General)

“I could never forget you,” the older boy truthfully confessed.

The young boy ducked his chin as a blush spread across his cheeks, burning the tips of his ears pink. “I hope I get to see you again,” he stated through the blush.

“That would be the greatest gift imaginable,” the older boy uttered, unable to take his eyes off of the younger boy.

Or, Derek is the god of the Underworld, and he takes Stiles to be his consort; pining and angst ensues.

Bad Cupid by OfAGroovyMind

(1/1 I 7,575 I Mature I Sterek)

Stiles is Cupid himself, born from the very Aphrodite herself. The god of sex, lust and love. It’s Valentine’s day, year 2013 and he is done for the year. He needs a break. After going into a bar and having one too many drinks he decides to seduce the gorgeous guy he’s been talking to. What’s the worst that could happen? All Stiles wants is to have a little fun on his own, and being bad never felt so good!

Derek Hale on the other hand, dumped and seeing a cute stranger attempting to seduce him. He thinks, how dare this near to perfect looking guy attempt to seduce the dark soul that was Derek. Tempting him with that lithe body. He wanted to teach this guy a lesson. He gives in to the seduction tactics of the stranger and takes him to his apartment where he engages in the best night he ever hoped to have.

The Weathered Shell by trilliath

(1/1 I 14,356 I Explicit I Sterek)

The young man is standing with an arm casually thrown up to lean against the door frame, displaying his bare torso to advantage, his powerful swimmer’s shoulders and lean body pale with moonlight. His cocky grin, however, is fading quickly into a look of shock and confusion. Other than a pelt shaped into a sloppy kilt, his legs are bare too, despite the chill winds coming in off the ocean.

“You’re not a girl,” he says in a gently lilting accent that’s like an odd blend of all the coastal voices Derek’s ever heard, squinting at Derek like his eyes might somehow be deceiving him.

Unlikely, given his dark beard and broad, well-muscled shoulders, let alone what he’s got under his kilt.

A trace of the divine by mendystar1

(5/? I 16,266 I Not Rated I No Pairing)

Living in a town with werewolves, it shouldn’t have been surprising when Stiles realizes he’s not as human as he thought. When the mystery around his mother comes to light, a whole new world is waiting for him. Stiles realizes that he’s not as unimportant as he believed.

With the Alpha Pack, the Darach, Hades and a bunch of other crazy Greek monsters hunting down the pack. Stiles must become the man that the prophecies and his mother believed him to be.

Apollo Rising by cofie, Ember

(15/? I 16,776 I Explicit I Sterek)

When Derek is forced into the Gladiator’s ring for the murder of his family, he feels that the Gods have betrayed him; but one senator’s son sees that the man is capable of so much more than violence, and is perhaps the key to helping Stiles’ gain power within the mighty empire.

turn off the lights and i’ll glow by novembersmith

(1/1 I 20,032 I Teen I Sterek)

The last thing he saw before everything went blue and dark was Scott’s red hoodie, and Stiles thought, as his limbs went shock-heavy and cold, and the bubbles started streaming around him, that he’d done something good with his life after all.

Out Of The East, Never See The Sun Rise by ladypigswagon

(7/7 I 24,333 I Mature I Steter)

In the beginning, there are three absolutes.

One. Stiles is a god, forged of starlight and collapsing galaxies and he is eternal.

Two. Peter is human, fragile bone and viscous blood and he is temporary.

Three. Stiles and Peter are in love; love that claws its way inside one’s heart like fish hooks; all encompassing love that is beautiful but dangerous.

Stiles is a god. Peter is human. They love each other.

Three absolutes.

Paint My Spirit Gold by Red_City

(30/31 I 74,779 I Mature)

There was a gift.

There was a curse.

There is a power in the house of Hale, given to the firstborn son of every generation - the ability to turn everything he touches to gold. Though the original intent of the power was thought of as a gift, in reality, it is a dreaded curse that causes the bearer a life of fear, isolation, and danger.

Thus, Prince Derek is born.


Harriet Powers, born into slavery outside Athens, Georgia (1837). She was married at 18 and gave birth to nine children. She lived most of her life in Clarke County, where in 1897, she begin exhibiting her quilts at local cotton fairs. She was believed to have been a house slave and first learned to read with the help of the white children she cared for.

Power’s quilts used a combination of hand and machine stitching along with appliqué to form small detailed panels. She then organized these squares to unfold a larger story, much like a modern graphic novel. This teaching style of quilting has its roots in West African coastal communities, and her uneven edging of panels mirrored the complex rhythms of African-American folk music. Through her quilts, she recorded legends and biblical tales of patience and divine justice. Only two pieces of her work have survived: Her Bible quilt of 1886, which she sold for $5 in the aftermath of the war, now hangs in the Smithsonian in Washington, D.C. Her Pictorial quilt of 1888 is displayed in the Museum of Fine Arts in Boston. Powers’ work is now considered among the finest examples of Southern quilting from the 19th century.

The city of Athens held a centennial celebration in her honor in 2010, and the mayor officially declared October 30th as Harriet Powers Day.
Stream Benjamin Clementine's New Album, 'I Tell A Fly'

“Behind every lion awaits a lazy dragonfly,” roars Benjamin Clementine in his fierce, androgynous, abrasively beautiful voice in one of the restless tunes on the extraordinary I Tell a Fly.

Throughout this second album – a theater piece-turned-sonic adventure — the pianist, poet and composer takes the insect as his muse, following its circular self-scatterings as it whizzes across borders and sneaks into dangerous rooms. It’s a metamorphosis that acknowledges a particular, modern heritage.

In 1915, the novelist Franz Kafka created his six-legged antihero, Gregor Samsa, as an embodiment of capitalism’s tendency to isolate and disempower its minions. Nearly 75 years later, the critic Greg Tate coined the term “flyboy in the buttermilk” to describe how the graffiti genius Jean-Michel Basquiat disrupted the tacit white supremacism of the art world.

Then there are the pop stars: U2’s Bono, ubiquitous rock star of Clementine’s British youth, becoming the character The Fly in 1991 as a way exploring the sticky mess of late-century globalization; and Miles Davis, who (as Kodwo Eshun writes) donned “bug-green fly shades” for 1975’s electric Dark Magus as a way of “adapting to the audiomenagerie by becoming insectile himself.”

Miles and Kafka, Bono and Basquiat: Benjamin Clementine recognizes the fly’s language as the common tongue of art made in a world where people’s skeletons have become too soft to absorb society’s blows.

The title I Tell a Fly is the first example of the album’s sneaky wordplay – a play on “I tell a lie,” just as “a lie” contains the first three letters of Clementine’s keyword: alien.

After seeing the phrase “an alien with extraordinary abilities ” written on his visa to America, Clementine began considering what that designation means across lines of class, race or nation, and even over the course of a lifetime.

I Tell a Fly loosely follows a pair of winged creatures as they flit through various border scenes. They visit the notorious refugee camps outside Calais in “God Save the Jungle,” encounter a French fascist in “Paris Cor Blimey,” and make fun of a privileged “American chap” in “Ode From Joyce,” which interpolates Joyce Kilmer’s famous corny poem “Trees.” Like some dirty Dr. Seussian Lorax, Clementine speaks for the flies, who with their compound eyes can see the connections between intimate cruelties and the evils of empire.

The album’s mazelike centerpiece, “Phantom of Aleppoville,” moves on the current of Clementine’s piano through his memories of childhood bullying and into the bomb-strewn battlefields of the Middle East. “Awkward Fish” matches harpsichord sounds to a grimy drumbeat to make fabulist the story of an immigrant boy in South London.

“By the Ports of Europe” imagines the influx of immigrants into Western Europe as a version of the Biblical tale of Noah. Mashing up myth and memory, Clementine ponders the effects of imposed borders: around countries, between children who begin as equals but are divided through prejudice, and in his own psyche.

“They say you must become an animal for the animal to protect us, the good animal and so we go to war,” he sings in the somber “Quintessence.” Clementine is, as others have written, a musical George Orwell for our time.

Clementine’s sometimes unhinged-seeming musicality is as dazzling as is his poetic vision. His lyrical wordplay extends into vocal and instrumental polyphony, accomplishing his goal of generating multiple viewpoints with in each song.

The song suites on I Tell a Fly, produced and largely performed by the artist, incorporate a huge variety of sounds, from Clementine’s neo-classical piano runs to Radiohead-style math rock, from multi-tracked choirs of Clementine’s own voice to buried atonal babble, from the Blur-like, accessible “Jupiter” to the Soweto beat-grounded progressive rock of “Ave Dreamers.”

It takes time to absorb the shifting soundscapes of I Tell a Fly – like the fugitive realities so many 21st-century people inhabit, it’s as difficult as it can be beautiful.

But Clementine’s exuberantly subversive spirit makes the journey worthwhile, and ultimately hopeful. “Barbarians are coming!” he wails at the end of this remarkable journey. “Dreamers stay strong!”

It’s a warning and an exhortation: Follow the path of the creature you want to swat, and you may find your way. [Read More]
BREAKING: Reince Priebus Replaced As White House Chief Of Staff With Homeland Security Chief John Kelly
Priebus is out.
By Amber Jamieson

In yet another sign of upheaval at the White House, chief of staff Reince Priebus was ousted on Friday, replaced by Homeland Security Secretary John Kelly, President Trump announced via Twitter.

“I am pleased to inform you that I have just named General/Secretary John F Kelly as White House Chief of Staff,” Trump tweeted. “He is a Great American and a Great Leader. John has also done a spectacular job at Homeland Security. He has been a true star of my Administration.”

In recent days, senior adviser Kellyanne Conway had told people that Priebus was “gone” and that he was trying to figure out his next steps, a source with knowledge told BuzzFeed News. According to Conway, White House staffers who came from the Republican National Committee were out and the administration was “going back to Trump loyalists,” the source said.

Priebus previously served as chairman of the RNC and is considered a Republican Party stalwart, as opposed to a Trump loyalist. During the presidential campaign, he advised Trump to drop out of the race when the lewd Access Hollywood tape was revealed — a fact Trump never let Priebus forgot after his election victory.

As part of his White House role, Priebus was tasked with managing the president’s schedule and who he met with, but he had been widely reported to be a “dead man walking” for months.

His exit comes after months of speculation that the chief of staff could be ousted at any moment, and just a day after Anthony Scaramucci, the new White House communications director, openly accused Priebus of leaking to the media and called him “a fucking paranoid schizophrenic, a paranoiac.“

White House press secretary Sean Spicer, a close ally of Priebus, resigned after Scaramucci was hired on July 21.

On Wednesday, after telling the New Yorker that he believed Priebus had leaked information about him to the press, Scaramucci tagged his colleague in a (now deleted) tweet:

“In light of the leak of my financial info which is a felony. I will be contacting @FBI and the @TheJusticeDept #swamp @Reince45.

On Thursday morning, Scaramucci denied that he was openly threatening Priebus with an FBI investigation for supposedly leaking, instead claiming it was "public notice to all leakers that all s[enio]r Admin officials are helping to end public leaks”.

That was refuted by his interview in the New Yorker, published Thursday afternoon.

Scaramucci also appeared on CNN Thursday morning, and mentioned his foe Priebus, describing their relationship like “brothers”:

If you want to talk about [Reince Priebus], we have had odds. We have had differences. When I said we were brothers from the podium, that’s because we’re rough on each other. Some brothers are like Cain and Abel. Other brothers can fight with each other and get along. I don’t know if this is reparable or not, that will be up to the president.

In the biblical tale, Cain killed Abel.

This is a developing news story. Check back for updates.

anonymous asked:

If its okay to be gay then why dose the Bible speak against it? Isn't everything in the Bible true?

Does the Bible condemn being gay – that’s the Big Question, isn’t it?
This blog exists because we believe the answer is a lovely, resounding no and so we want to affirm LGBTA+ Christians. I suppose it’s high time we answered this question at length, rather than just pointing readers to our resources page. 

Christians who don’t have any reason to delve too deeply into the matter will, at most, pull open their Bible, find those two pesky verses in Leviticus, or read over certain passages in Romans, Corinthians, Timothy, and Jude, and say, “well, there we have it: scripture says doing gay stuff is wrong. So…just don’t do gay stuff.” Simple as that. End of story. Close the book.

But when a Christian realizes that they themselves or someone they love is gay (or another branch of the LGBT+ community, but I’ll focus on same-gender attraction for this post), pointing to those “condemnatory” passages and ending the search right there just doesn’t cut it. Suddenly the question isn’t just a “fun” theological debate; the answer matters; your happiness and salvation – or that of a loved one – are on the line. What about context, historical or textual? Or what if some things got lost in translation? Or…do we dare even wonder it…what if, just maybe, every rule and opinion that made it into the Bible isn’t necessarily God’s opinion?

Maybe you were looking for a simple answer. But even if you’ve only rarely cracked it open, I’m sure you’ve noticed that the Bible is a pretty hefty text. Thus, this question requires a lot of unpacking. This post aims to deconstruct your two-part question – does the Bible condemn being gay, and is everything in the Bible true – one piece at a time. Buckle up and get comfortable, folks, because we’re about to zoom through several millennia of biblical history, explore translation and interpretation, and philosophize a bit on the differences between “fact” and “truth,” advocating for a non-literal reading of scripture and an affirmation of LGBTA+ people, identities, and relationships.

Note: it is possible to read only parts in bold, or to skip to this post’s final section (“Wrapping Up”) if you do not have the time or inclination to read this post in its entirety. 

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anonymous asked:

what's your stance on religion? do you think it's helpful or hurtful to humans generally? i feel that it made more sense to be religious in the past when our knowledge of the way the world works was quite murky, and many of the tales central to most religions are very outdated to say the least. on the other hand though, many people say religion gives them comfort and a sense of purpose.

Religion and science occupy the same place in the human consciousness. They both are human attempts to answer the question “why?” They are both inadequate. The difference being, that science is a method that modifies perception of data. Science allows for external change, for inconsistency, for new data. Religion has an inherent statement of fact, that is then altered over time to disastrous effect in that the necessary changes -adaptations that allow that faith to continue to survive in a modern or hostile context - become hypocritical and self-defeating. I’ve witnessed it myself. Seen men spend their lives attempting to rectify the discrepancy between observable data and religious dogma. A modern example would be the bones of dinosaurs. There are countless christians who believe that the bones were put there by the devil, because the Bible doesn’t mention dinosaurs. There are men who try to prove that dinosaurs are mentioned. There are people who overlook that the biblical origin tale of the world omits dinosaurs. And many variations in between. All of those variations allow the faith to continue, despite the inherent inconsistency that an omnipotent, omniscient deity would forget to mention that man was not the first creation to dominate the earth.

I also find religion unbelievably arrogant. I dislike when humans organize under such a pretext as having literally all the questions of the universe solved and answered for them, that they hold the answers, that they then can offer them to whomever they goose. It’s arrogant to even claim
Half the answers. It’s stupid to use those answers to argue with someone with their own answers. The modern world gives us the convenient example of Christian Extremism vs. Muslim extremism. I find their dialogue insane. Especially since they both have the biblical god. They both have the same deity! And here they are killing each other over the human interpretation of said deity! And they’ve been doing it for hundreds of years! I know! I was there! What sense does that make? None! It feeds the human ego to believe that they alone have the answer, the security, the love. I am sorry, but if an omnipotent and omniscient deity existed, and had as serious a desire to be worshiped and adored as the biblical god does…then methinks he would
Make sure that his ways would be completely clear and impossible to misconstrue. One would think he’d be less obscure.

And as you say, purpose, friendship, meaning. All useless. The things you do in order to earn the respect and acceptance of your deity…you could do without it if you so chose. You can be an atheist and be generous. Morality and kindness are not attached to deities. They’re attached to intelligence. Anything with empathy can choose to be kind, or not. My purpose is mine, and mine alone. I owe it to no one. I give it to no one. I am responsible for it and accept the consequences. The other day, I was pulled into a discussion at a bar about god. I said I was an atheist. The person said “You’re too nice to be an atheist.” “What does that mean?” I said. “Well, let me ask you something. What if you’re wrong?”

“It is simple. I am wrong. And I will take my consequences. A loving, empathic deity would
Look into my heart and mind and see precisely why I chose that path. That deity would either decide to take pity or not. If not, then it wasn’t a deity I cared to serve anyway.”

Consequences are the only punishment. Sin is not real. Shame is not real. Consequences are real. Some of them are internal, some external. But you ultimately choose them.

Now, all that aside, I know for a fact that there is more “going on” in this universe than humans are capable of seeing with their meager senses. Sometimes people can detect them, and they chalk it up to miracle, to wonderment, to the simplistic and arrogant assumptions they make about god.

Whatever you think you know, imagine that you’re wrong. Be skeptical of your own thoughts. Never let anyone tell you how the universe works. Go and look into it yourself. Go dig up a dinosaur bone, and ask why a god that came about after humans crafted civilization, forgot about them.

Man invented god. Man attempts to mimic order. Man must organize to survive and so sees organization in everything.

For me it is very simple: be kind, always improve, always challenge yourself, keep your integrity intact. And finally, it is fine to take lessons from religions. Recall that hundreds of men and women devoted their minds and experiences to those faith-collectives. There is bound to be useful and lovely information there to be learned, but that does not prove or construct the whole of the faith. For every wise person in the faith, who focuses on philosophy and learning, good deeds and meditation, there are at least a hundred persons who are idiots or direct blasphemers. That’s the same percentage as any other population.

There are terrible people everywhere, of every walk of life, in every field, of every faith or lack thereof. Never use statistics to talk about God. That is a stupid thing.

Ah yes, the classic biblical tale of that time Goku asked upon the world to help him charge his Super Spirit Bomb in order to defeat Kid Buu

The Mesha Stele

“Like a lucky actress or singer, it took us by storm.  Not in the universities only, but in the metropolis — not in learned circles merely, but in fashionable ones — it was the topic of the day.  Politicians, lawyers, statists, men of business, nay ladies — ladies, moreover, never previously suspected of having in their mental colouring the faintest tint of blue — talked of it, discussed it, argued about it, expressed opinions as to its age and its contents, and smiled if they met with any one who confessed to complete ignorance on the subject.” (Rawlinson, 1870, on “The Moabite Stone”)

The Mesha Stele (also called the Moabite Inscription) attracted enormous attention after an Anglican missionary in modern Jordan saw it in 1868.  England, France, and Prussia all fought to buy it from its Bedouin owners, and when the Ottoman Empire began to interfere, the Bedouin broke it into fragments and hid them, rather than hand it over.  When the inscription was deciphered, thanks to a copied impression of the stone and the recovery of some fragments, it proved hugely important to the field of biblical studies.

Moab was one of Israel’s closest neighbors, and King Mesha himself, subject of the inscription, appears in the Hebrew Bible.  The Mesha Inscription thus both supported the Bible’s historicity and diminished its uniqueness.  Like the Israelite god YHWH, Kemosh watched over Moab as his special nation, and their military success was based on his favor or displeasure.  Like the biblical histories, King Mesha’s account of his triumphs serves as propaganda, using a bit of creative license and hyperbole to achieve a positive spin.

I am Mesha [1], son of Kemoshyat, king of Moab, the Daibonite.
My father ruled over Moab for thirty years.

But then I ruled after my father.
I made this shrine [2] for Kemosh in Qarḥoh.
(It is) a shr[ine of deli]verance, [3]
       because he delivered me from every king (?),
       and because he raised me above all my enemies. [4]

Omri was the king of Israel,
       and he oppressed Moab for a long time,
       because Kemosh was angry at his nation.
Then his son succeeded him,
       and he declared, “I will oppress Moab,” too.
He said that during my reign,
but I rose above him and his family.
Israel was destroyed — completely destroyed! —
even though Omri had conquered the land as far as Mehadaba.
He stayed there through his reign and half his son’s reign,
       forty years,
       but Kemosh returned it during my reign.

I built Baalmaon,
       and I made a reservoir in it,
       and I built Qiryaten.

The population of Gad had always lived in the nation of Aṭarot,
       and the king of Israel had built up Aṭarot.
But I attacked the city and seized it.
I killed the city’s entire population as tribute (?) for Kemosh and Moab;
I plundered the altar of its patron god [5],
       and I relocated it (to be) before Kemosh in Qiryat.
I settled the populations of Sharon and Maḥarat in (Aṭarot).

Kemosh then said to me, “Go and seize Nabo from Israel.”
So I went out at night, and I fought with them
       from the break of dawn until past noon.
I seized it, and I killed everyone —
       seven thousand male citizens, male immigrants,
       female citizens, female immigrants, and fertile girls — [6]
because I had devoted them to destruction for Ashtar-Kemosh. [7]
Then I took the vessels of YHWH from there,
       and I relocated them (to be) before Kemosh.

The king of Israel had built Yahaṣ,
       and he stayed there while he was fighting with me.
But Kemosh drove him out for me.
I took two hundred men from Moab — their entire unit.
I brought (the unit) up to Yahaṣ,
       and I seized it to enrich Daibon.

I am the one who built up Qarḥoh, [8]
       the garden’s walls and the citadel’s walls.
I am the one who built its gates,
       and I am the one who built its towers.
I am the one who built the palace,
       and I am the one who made the retaining walls of the reservoir
       for the spring in the city center.
(There had been no cistern in the city center of Qarḥoh,
       so I told all the people,
       “Each household should make their own cistern.”)
I am the one who dug ditches for Qarḥoh,
       using the captives from Israel.
I am the one who built Aro’er,
       and I am the one who made the road by the Arnon River,
       and I am the one who built up Bet Bamot after it was destroyed.
I am the one who built Beṣer back from rubble,
       using the population of Daibon —
       for everyone in Daibon obeyed me.
I am the one who ruled over hundreds
       in the cities I added to the nation.
I am the one who built Mehadaba, Bet Diblaten, and Bet Baalmaon,
       and I brought up there the l[ambs? …]
       […] sheep (?) of the nation.

(As for) Ḥawronen, the House of David had lived in [it …]
Then Kemosh told me, “Go out to fight Hawronen.”
So I went out and [attacked the city, and I seized it,
       and it was restored by] Kemosh during my reign.

[The remaining couple of lines are very fragmentary.]

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The Beginning

Title: The Haven

Chapter 1: The Beginning

Genre: Romance/Fluff/Comedy

Rating: T

Author’s Notes: I don’t know what I’m doing.  I’m not a writer.  I probably overuse ellipses.  You’ve been warned.  

Written from Mr.Hiddleston’s POV

My brain was screaming at me that what I was doing was terribly wrong and inappropriate, but something I had never experienced was propelling me forward.  I could see the headlines in tomorrow’s news: Actor Arrested On Stalking Charges. 

Calm down, man.  You’re just walking down the street like all these other people. 

 I told myself to shut up and kept my eyes fixed on the luscious inky black waves that cascaded down her back and bounced gently as she slowed her pace to stand in front of a jewelry store that was located on the corner of the block.  I stopped by a large planter with a very sad looking fichus and pretended to be engrossed with my phone.  I kept my head down and glanced over at her.  

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Hogwarts Houses in Terms of Gender Stereotypes (Theory about Slytherin House Bias)

Gryffindor and Slytherin are often seen as two sides of the same coin. 

Ravenclaw and Hufflepuff also seem to reflect one another, choosing to steer clear of general moral conflict (the good/evil dichotomy Gryffindors and Slytherins love to fight over) and focusing more on specific traits, like loyalty and intellect. 

Gryffindor and Ravenclaw are the ‘masculine’ houses, with Gryffindor’s emotional recklessness/bravery reflecting the stereotypical soldier, and Ravenclaw’s rational studiousness reflecting the conception of a male scholar. 

Slytherin and Hufflepuff are the 'feminine houses’ with Hufflepuffs representing the nurturing, mothering conception of woman and Slytherin representing the vengeful, rational side of woman (think The Furies from Greek mythology), epitomizing everything about women that men are terrified of. 

Mythologically, Hufflepuff is the mother and the wife, while Slytherin is the bitch, the shrew and the evil stepmother. Heinrich Heine once said “woman is at once both apple and serpent.” Hufflepuff is the apple, the seemingly innocuous fruit that belongs to the Tree of Life, giving sustenance to the people who pick it who then plant seeds to grow into new trees, in a metaphor for motherhood. Slytherin is the serpent. The serpent is literally Slytherin’s emblem, Slytherin often plays the temptress and Slytherin is often seen as enabler of evil when, like the serpent, who in the Biblical tale of Adam and Eve is just an instrument of God, doing what he was told to do, Slytherin is just another Hogwarts house filled with the good and bad intentioned (not to mention everyone in between and how Slytherin adores those grey areas…)

Professor Snape represents Slytherin as their head of house. He is also the Potions Master. As Snape tells his class on the first day of year one, “there is little foolish wand waving in this class,” wands that clearly symbolize phallic objects, and mentions instead that he does not expect his students to “understand the beauty of the softly simmering cauldron,” an allusion to the feminine womb.  

Professor Sprout is the Head of Hufflepuff and Herbology teacher. Herbology is all about nurturing creation and allowing it to flourish, just like motherhood. Herbology is sometimes ugly (pus filled botubers) just like motherhood is sometimes unpleasant but it is a worthy task nonetheless and one the undertakers have chosen to do. 

Gryffindor’s ambition is often seen as admirable, one example of this being when Fred and George attempt to put their names in the Goblet of Fire. Had a Slytherin attempted this same act, it would seemed to Harry, and thus the reader, out of line, selfish and disrespectful. Bear in mind this is judging the exact same act in a different context. Where does this stigma stem from?

Misogyny. If Gryffindor is masculine and thus expected to be ambitious and accomplished, then Slytherin is feminine and thus expected to be more like Hufflepuff, in the vein of the 'traditional woman,’ caring for the people around them. Slytherin subverts these expectations by accomplishing every bit as much as Gryffindor, though they (unfairly) have much more to prove, much like most women competing with men. 

Slytherin’s ambition is seen as selfish because they are the more feminine oriented house and thus are expected to sit back and let the big boys do the work. But Slytherin refuses to cowtow to hackneyed stereotypes, choosing instead to differentiate themselves without minimizing the accomplishments of the Hufflepuffs (just as professional women with jobs should not be shaming stay at home mothers) and transcending the box they were placed in. 

And if anyone doesn’t like the subtle subversion of the noble house of Slytherin, they can fuck right off.


[these are my favourite books and top recommendations]

The Road, Cormac McCarthy: A man and his son eke out an existence in a post-apocalyptic wasteland. They must head south before winter, avoiding the dangers of starvation, disease and other desperate survivors. Written in McCarthy’s own minimalist style of prose, The Road is a harrowing yet beautifully written tale of survival against the odds, and an examination of what is truly worth living for.

The Count of Monte Cristo, Alexandre Dumas: A victim of jealousy and ruthless ambition at the hands of those he trusted, Edmond Dantes is cast into prison. He resolves to escape, wreaking a calculated revenge upon those who have ruined his life under the guise of the mysterious and charismatic Count of Monte Cristo. However, this will have consequences which even Edmond cannot foresee. A classic tale of revenge and adventure, and one of the best-selling novels of all time, the Count’s story is a timeless tale of morality, fortune and hubris.

The Handmaid’s Tale, Margaret Atwood: Set in a theocratic, patriarchal dystopian America which somehow manages to feel disturbingly familiar, The Handmaid’s Tale follows Offred, a ‘Handmaid’ tasked with bearing children on behalf of privileged families. Atwood’s narrative is bleak and narrowly focused, depicting Offred’s struggle for identity and humanisation in a world where she is treated as little more than an implement. Guaranteed to disturb. 

The Book Thief, Markus Zusak: It’s just a small story really, about, amongst other things: a girl; some words; an accordionist; some fanatical Germans; a Jewish fist fighter; and quite a lot of thievery.’ Told from the (surprisingly sympathetic) perspective of Death, The Book Thief recounts the story of Liesel Meminger. After the death of her family, Liesel is fostered by the Hubermanns. Prepare for emotional trauma as Zusak describes the story of a young girl struggling to survive in a war-torn country - a story of love, loss, and literature.

His Dark Materials trilogy, Philip Pullman: When Lyra’s best friend goes missing, the headstrong young girl (accompanied by her daemon, Pantalaimon) decides it is up to her to bring him back. Little does she know, she is soon to become embroiled in a tale of biblical proportions, a fantasy epic spanning parallel worlds and universes. This is a story of the metaphysical, of loyalty and betrayal, freedom and subjugation, angels and daemons, gods and mortals, knowledge and power. Oh, and talking warrior bears. Fuck yeah.

Cloud Atlas, David Mitchell: A truly ambitious novel, Cloud Atlas draws a veritable smorgasbord of characters from past, present and future together, examining fate, fortune and consequence. Everything is connected - this is the kind of book which plays on your mind for months later. [full review]

Frankenstein, Mary Shelley: The young and ambitious Dr Frankenstein is set upon one goal - to create life. His hubris proves to be his downfall, and Frankenstein inadvertently creates a ‘Monster’, and his attempt at playing God brings down destruction upon his life and loved ones. Subtitled ‘The Modern Prometheus’, Shelley’s pioneering science fiction novel considers (amongst other things) what it truly means to be human.

Hamlet, William Shakespeare: Hamlet, the prince of Denmark, is mourning the death of his father. However, with the appearance of his father’s ghost comes the shocking revelation that it is his uncle Claudius - now king, and also having recently married Hamlet’s mother - who is responsible. It falls to Hamlet to avenge this regicide, however he is wholly unsuited to the task. This is Shakespeare’s lengthiest play, and in my mind it is his best.

Meditations, Marcus Aurelius: In Meditations, the Roman emperor and Stoic philosopher lays out his advice on how to live a healthy and happy life. Often surprisingly relevant to the modern mind, this is a wonderful book to keep on the shelf and dip in and out of. 

The Dark Tower, Stephen King: ‘The man in black fled across the desert, and the gunslinger followed.’ Roland Deschain, the last Gunslinger of Gilead - remnant of a long-lost empire - is a man with an obsession. He seeks to avenge what he has lost, and to reach the mysterious Dark Tower, a nexus for all converging realities and dimensions. Along the way he must form an eclectic ‘ka-tet’ (’one from many’) to fight the evil forces of the Crimson King, who also seeks the Tower. A meta-fictional blend of horror, fantasy, Western and science fiction, The Dark Tower is perhaps King’s magnum opus, and holds at least something for everyone. [full review]

Catch-22, Joseph Heller: USAF bombardier Captain Yossarian has had enough of risking his life in the Second World War - but he can’t be discharged, because of Catch-22. Any man can be discharged on grounds of being insane - however, only a sane man would ask to be discharged. Heller’s novel finds the fine line between laugh-out-loud satire and razor-sharp commentary on the futility of war and the relentlessness of capitalism.

Kafka on the Shore, Haruki Murakami: Kafka Tamura has run away from home, in an effort to evade a mysterious curse from his unloving father. Nakata - an old man who never recovered from a strange childhood affliction - is on the trail of a missing cat, yet soon finds himself implicated in a bizarre murder case. As their two stories overlap, the line between real and surreal is blurred; Kafka will leave you with more questions than answers, and keep you thinking long after you finish it.

[‘it’s the job that’s never started as takes longest to finish’ (this post will be continuously updated) - further recommendations here]

i’ve never been more hype for a movie like i am for mother! i’ve read minimal reviews for it and i’m excited to see how different people are reading it. some take it as a biblical tale, some see it as a story about global warming, the ego of the artist....the ownership of bodies. i’m ready to have my brains SCRAMBLED

Johann Wolfgang Baumgartner - The Prodigal Son Living with Harlots by Gandalf
Via Flickr:
In his small oil painting depicting the biblical tale about the prodigal son Baumgartner (Ebbs, 1702 - Augsburg,1761) not only used the rocaille as a frame, but as a motif in itself. The rocaille, a type of ornament typical of the Rococo, winds its way into the architectural setting of the scene, dissolving stone niches and intermingling with the food of the balustrade. As a child of the waves, sister to the seashell and twin to the corals the rocaille feels right at home within Baumgartner’s pastel-hued universe where the prodigal son does not yet know that he is lost. Engrossed with the charms of women, wine, and music he pays no heed to the dark side of debauchery.

[Statens Museum, Copenhagen - Oil on canvas, 38 x 27.8 cm]

ONS Biblical explanation

The seven trumpets of Apocalypse:

Second trumpet

“It cues something like a great burning mountain that plunges into the sea and wipes out a third of all sea life and ships. A third of the oceans will become blood”.

Not so related with the salt aside from the fact it mentions the ocean but there is another biblical tale about salt (Lot’s wife) plus the fact salt is holy and used for purification.

Originally posted by tinyshinysylveon

Fifth trumpet

“The fifth trumpet prompts a personified star to fall from heaven. The star is given the key to the bottomless pit. Then from out of the smoke, the Locusts ( Scorpion tailed warhorses, having a man’s face with lion’s teeth) were unleashed. They were commanded by their king, Abaddon.

Abaddon appears in the Bible as both a place of destruction and as the name of an angel ( king of an army of locusts ).” In the Hebrew Bible, abaddon is used with reference to a bottomless pit. Well, with this we know from where the monsters came and why they serve Abaddon.

Originally posted by sueviette

Now I wonder, if we’ll see more trumpets or biblical references, I’m still waiting for the Lucifer/Michael paralel but now I’m not so sure if it will happen but since the Seraph’s arc will finally start in the manga I’m curious to see what we will get.

anonymous asked:

What are the Jewish allusions in Superman's backstory?

Immigrant from a ruined homeland/homeworld, torn between his alien identity and his current one.

Hailing from a dying race, saved by his family members to be picked up by a loving adopting family, AKA Moses.

He has the name Kal-El. El being Hebrew for God and a common last syllable in many Hebrew names, including Samuel, Israel, Daniel.

His core value is the Jewish value of ‘Tikkun Olam’ or ‘Fixing the World’, which means that when the world is broken (as it literally was in Superman’s case) it’s the duty of those powerful enough to do whatever they can to fix it. To leave the world a better place than they found it.

The Jewish creators of Superman said they were inspired by the Antisemitism they experienced and by the biblical tale of Samson to create Superman as a hero for the downtrodden, an alien immigrant who’s special and serves his adoptive home.


‘Arca noe, in tres libros digesta‘ is a take on the Biblical tale of Noah and his Ark. The book is a beautifully illustrated account of the building and layout of the Ark and the animals within, including everything monkeys and crocodiles to mermaids and unicorns…

Not the most scientific book in our Collections, but still a favourite.

Keep an eye out for some of the animal illustrations in the next day or two.

Longer thoughts on 10.23, “Brother’s Keeper” (spoilery, Destiel-y)

This wasn’t terrible, but it wasn’t great, either– and a season finale needs to be great for me to love it. This was just about the weakest season finale SPN has had, so far as I can remember.

-I did like the Darkness. Even though the info dump explaining that the Mark is actually a lock and key holding back something awful seemed to come out of nowhere, considering that we’ve been dealing with the Mark for a year and a half now, it’s still an interesting idea. Darkness is a common part of many creation myths (someone pointed out that one word for it is Erebus), and it is a part of the Biblical tale of creation too:

In the beginning God created the heavens and the earth. Now the earth was formless and empty, darkness was over the surface of the deep, and the Spiriti of God was hovering over the waters. And God said, “Let there be light,” and there was light. God saw that the light was good, and he separated the light from the darkness.

Sounds cool, and looked very cool. Unfortunately, SPN’s budget seems to pretty much require that all bad guys look like humans, so the Darkness will probably take human vessels, which means it won’t seem all that different from angels and Leviathan and every other bad guy. Still, it beats the hell of the Styne family, so I won’t complain too much.

(A side note about spoilers for 11.1, echoing something I posted previously: Actress Taylor Poyfair claims to have already been cast for the season premiere, playing a character named Helen. This is more believable to me now, because Helen, in case you didn’t know, means “Light.” That seems like an obvious setup for a major character to fight the Darkness alongside the boys– and maybe a love interest, too.)

-Rowena has accumulated power– enough to cast a spell on an angel. Presumably she’ll be around next season too. I’m pleased by this, as she’s grown on me. At first I found her annoying, but I’ve come to like her as a character.

-I was very annoyed, however, that Rowena’s love for Oskar became a key component of the spell to free Dean from the Mark. Rowena? Really? In a season in which Cas and Sam been devoted to saving Dean, they go with the idea that it’s Rowena’s love for some random guy that matters in the end? Similarly, in a season in which the title card appeared to show angel grace obliterating a smoky devil’s trap, they went with a magical spell freeing Dean, rather than a particular angel’s grace? Really? That felt kind of like a deliberate slap in the face to Destiel shippers, frankly.

-Brotherly codependence and angst, again. It’s expected in the finale, but if it’s not balanced with something more interesting, then it feels like the same stuff we’ve already rehashed over and over again. I felt like the boys were getting somewhere last night in recognizing the toxicity of their bond, but maybe not far enough. And then Sam’s well-meaning efforts to remove the Mark came to fruition and set the Darkness free anyway. (I felt like Gabriel at this point: “Let me guess. You two muttonheads broke the world.”)

I’ve said it before and I’ll say it again: I am sick to death of brotherly angst, to the point that I just don’t care any more. I want a season eleven that resolves the codependency up front, and shows us the brothers (along with Cas, Charlie, Kevin, Bobby, and other friends) fighting the Darkness as a strong, united front. I want the writers to give the brotherly angst a rest, and let our boys have other permanent people to love in their lives.

-Cas didn’t interact with Dean, and that sucked. Furthermore, it’s becoming increasingly clear the writers don’t really know what to do with Cas. They are trying to keep him away from Dean, but they’re not sure what to do with him otherwise. They have downplayed his friendship with Dean to the point that Dean doesn’t even think of letting Cas know that he’s planning on getting Death to kill him, and Sam seems to be mostly using Cas as a tool again. No one even seems to have asked Cas to stay in the bunker, which is inexplicable and kind of dumb. They need to fix this.

-As others have already pointed out, Rudy had no point in the plotline except to water down the impact of Dean and Cas’ fight last week. Rudy’s death didn’t add anything to Dean’s realization of what the Mark was doing to him; the guy didn’t even die directly at his hand, but rather due to his arrogance and lack of caring. The death of the innocent teenager last week was far more shocking and horrible. That, and his memory of a bloodied Cas, should have been plenty of impetus for him to summon Death. Bringing in Rudy just diluted Cas’ apparent importance to Dean, reducing him to “I look in the mirror and see these guys I’ve hurt lately” rather than “oh God, I almost killed my best friend.”

-Echoing others, I don’t see the point in a lot of stuff they did this season now. Why have Cain make that speech about Dean living his life in reverse, when Dean didn’t kill any of them? Why have Dean make that speech to the priest about wanting different experiences with someone? Dean didn’t show any signs of caring about anyone besides Sam when he was planning on dying, so what was the point? Going further back into the last season, what was the point of making Cain’s story revolve around Colette?

-The Death thing was interesting. Dean’s killing of Death reminded me of On a Pale Horse by Piers Anthony, in which the incarnation of Death is periodically replaced by anyone who manages to kill him. So if you kill Death, you become Death. This would be an interesting outcome for an episode or two, but it is obviously unlikely that Dean will be Death for much longer than that. Dean serving food to Death to get on his good side was clever. I’m not sure why the hell Death would hand his scythe to Dean instead of just having him kill Sam with his own weapon. If Death was aware he could be killed by his own scythe, this would be ridiculously stupid, unless Death actually wanted to die. Then again, I’m not certain Death is actually dead. I’ll just wait and see what develops in that particular plotline.

-I admit I expected more blood and death out of this one, but that’s mostly because the actors and writers have been hinting at multiple deaths. But it was also a reasonable expectation based on the fact that we had a big dramatic death (which I still am totally pissed about, by the way) in 10.21. Knowing Supernatural as we do, one would expect a death of a more major character in the season finale. Instead we didn’t get one, which surprised me– I honestly expected Sam’s head to be rolling on the floor (to be fixed next season, of course), but in the end the only apparent casualty was Death. It all felt kind of anticlimactic after Charlie’s death, to be honest.

-So at the end, we have Sam and Dean and Baby in a black cloud (reminscent of both demon smoke and Leviathan goo), and Cas under the “attack dog” spell charging Crowley. (It wouldn’t have hurt them to explain the spell again– I wondered if casual viewers might be confused as to what was going on with Cas, because it’s been a while since we’ve seen that particular spell used.) All four of them can easily come out of this unscathed, and probably will. I hope that Misha and Mark remain regulars, and that Misha gets his episode count bumped up so they can have Cas actually move into the bunker and be a better integrated part of the story. Here’s hopin’ that season 11 is slightly more coherent than season 10, and with a Big Bad we can all love to hate!

Salomé (1909). Paul Antoine de la Boulaye (French, 1849-1926). Oil on canvas.

The Dance of the Seven Veils is one of the elaborations on the biblical tale of the execution of John the Baptist. The purpose of the dance has been desribed as being to inflame King Herod with incestuous desire so that he would grant Salomé her wish for the head of the Baptist.