I’ve really been enthralled lately with the discovery of a well researched and executed educational podcast series called Medieval Death Trip, which explores medieval chronicles and other texts more in depth than the usual footnoted references that they receive and the bidden commentary that they entail. Voraciously, I’ve been working though the extensive archive of episodes and am finding it a welcome change that a different light is cast on the Dark Ages, ethnographically speaking, rather than the usual cloistered and superstitious pall that’s afforded that epoch of history. As telling as linguistic developments and throw-backs are, one of the more illuminating points that revealed itself was in the urgency with which the need for family names came about.
Of course there was the administrate embargo of record-keeping in the form of the Domesday books that followed the Norman conquest of England for the assizers, but there was also a strong cultural emulation to give one’s offspring that patent of their usurpers, just like in the diglossic dissonance between the vernacular Old English—seen as backwards—and the courtly French. Quicker than ancient parlance fell away, giving one’s children Celtic and Nordic names went out of fashion. As few are called Cletus or Bethany any longer, within a single generation parents found it uncouth to draw on their heritage and no longer named their Æðelþryð, Ealdgyth, Ælfwine or Ælfgifu (respectively, friend or gift of the elves)—though Alfred (advised by elves) and Edgar (prosperous spear, rich prick) have survived. Old English and modern France, taken as an amalgam, have an embarrassment of names to choose from, but the Normans, though themselves of Scandinavian mercenary roots, only had a few: namely, Guillaume (reconquered as William) and Matilda (wife of said conqueror)—plus a few other crossovers, like Richard, Roger, Guy and Gilbert, which were not nearly as popular on the rankings of baby names in 1086. The potential for confusion was apparent soon enough, with brothers and sisters within the same nuclear family having to wonder who was being summoned. It sounds like a proverb, like how the camel got its hump or the Tower of Babel, to remove surnames from patronymic and codified reason, but it struck me as true and curious nonetheless. Incidentally, the name of the podcast refers to “Wisconsin Death Trip,” a thesis paper (adapted into a book and then as film) presented in a series of episodic newspaper clippings revelatory of the hardships of living in the US Midwest around latter decades of the 1800s.
Sunday 17 January 2016
applestand or given and received
Saturday 16 January 2016
someday my prince will come
Though this rather pandering structure, implying to some at least that the station for a woman is barefoot and pregnant (though those seem to be generally Western voices and we don’t know the attitudes of the local throngs that have come to preview it), is touted as a church, this blue glass slipper pavilion is more of a wedding chapel.
Maybe not a shotgun, Las Vegas-type affair exactly, since the target patrons surely have had to have done some planning, dreaming, this well-healed edifice in Taiwan, meant as a draw for eligible females is not exactly inspired from a Cinderella type story, at least not a sanitised version. According to local lore, a bride-to-be in the 1960s was stricken with some terrible condition called “blackfoot disease,” which comes from drinking water with too much arsenic and causing subsequent clotting in the feet. Tragically, this suffered had to have both of her feet amputated, never married and spent the rest of her life in a convent. Considering that the incidences peaked around that time and was afterwards nearly eliminated due to better water treatment, the tragic bride may be an imagined heroine that stands for all that suffered. It does not seem so romantic but also maybe a little less patronising as well. Already attracting attention, the chapel is set to open on the Lunar New Year.
catagories: 🌏, architecture, holidays and observances, lifestyle
Friday 15 January 2016
studio cards
Through the daisy-chains that bind us, I was astounded to find this superbly fun and classy curated gallery of vintage film animations in a blog called Nitrate Diva. Lovingly maintained and with a vast archive that spans from the Silent Era through the 1960s, I found it to be too remarkable not to share. Of course, these pictures have a separate, fossilized mythos of their own, but finding these clippings moving under their own power opens up a whole new strata of arresting scenes. One won’t regret the visit.
catagories: 🎬, antiques, networking and blogging
6x6
quinceañera: Wikipedia celebrates its fifteenth anniversary
you sank my lanthanide series: a parent has developed a period table of Battleship to teach chemistry
independent order of odd fellows: a look at the iconography of the secret societies of America, via the Everlasting Blort
that’s a bad boy: a Roman mosaic unearthed in Alexandria reveals that pet-shaming has been a phenomenon since ancient times
yosemite sam: accommodations and attractions of the US national park compelled to re-flag because of an unscrupulous naming-rights dispute
powwww: a studious and hilarious collection of expository BAT LABELS from the original Batman series
Thursday 14 January 2016
verisimilitude
One tool the storyteller has in his or her quiver of tropes to perhaps fend off a fading suspension of disbelief—when the audience is no longer transported into that fiction or fantasy and is growing unwilling to buy what’s improbable (the most treacherous area for an author or actor is delineated by the inconsistency in which the impossible drifts towards the merely unlikely)—is called the lampshade hanging technique. Accorded with the principle that anything is less glaring than a bare bulb, the narrator calls attention to the offending material and tries to move on—hoping that the audience identifies enough with the characters to accept that everyone is finding the situation incredulous.
dance, magic dance
I was delighted to be informed that prior to her career as Medical Officer for the continuing voyages of the starship Enterprise, Cheryl “Gates” McFadden (Doctor Beverly Crusher) played a pivotal, creative backstage role in many Jim Henson productions as dance choreographer and puppet director.
She helped compose the musical numbers for Labyrinth, as well as wrangling the skeksis for Dark Crystal and puppeteer in several muppet capers. Dr. Crusher presently has an active teaching career and has hosted several acting workshops. Finding this out was nearly as serendipitous as the time, a long time ago, when we went to the lost luggage outlet in rural Alabama and finding that gatekeeper Hoggle rather sadly went unclaimed or was left at the wrong terminal with no welcoming party. Since more people have discovered this oubliette, the goblin I think has become a mascot for that proverbial spot where all orphaned socks and other things gone missing end up.
catagories: 🎬, 🎶, 🖖, myth and monsters
Wednesday 13 January 2016
bonhomie oder in a word
The German Sprachraum Unwort of the Year has been announced, and among many other nominees vying for top spot, and it is Gutmensch—having already been accorded second place in 2011 and in common-parlance for far longer. Politically- and journalistically-speaking, it’s sort of a catty, backhanded tactile term, coded word for a group (Gutmenschtum) that counters counter-thinking.
Tuesday 12 January 2016
6x6
now hist. and rare: the OED’s rather murderous beginnings and criminal contributors
memory & function (& memory): Scarfolk, the English town forever doomed to repeat the decade of the 1970s, is coming to the air-waves
life-long learning: adult Norwegian teaches herself to play the violin and documents her amazing improvement
presto the magician: an analysis and appreciation of the Saturday morning cartoon Dungeons & Dragons
nengajo: beautiful collection of Japanese greeting cards for the Lunar New Year, via Everlasting Blort