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Vila Wolf's Dyslexic Folklorist Ranting

@ladykrampus / ladykrampus.tumblr.com

Hmm... I've got a strange and bizarre mind. I know what you're saying, doesn't everyone on the internet? I can say this, I'm not for everyone. It was once said that I've got a razor wit, a dark sarcasm and one hell of a twisted sense of humor. I like horror, I am a folklorist and I smoke. "Let me share something with you, a secret, We believe what we want to believe....the rest is all smoke and mirrors." - Arnaud de Fohn Posts I've Liked
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tlatollotl

The Chapultepec Stone

Stirling (1943:pp) recognized that the sculpture on the Chapultepec Stone was nearly identical to that on Cerro de las Mesas Stela 5. He states that the monument was taken from the village of San Miguel Chapultepec, in Mexico City – it is not from the apocryphal “San Miguel Chapultepec, Veracruz”, as is sometimes stated – although he suspected that it was in fact from Veracruz given its general relationship to several of the monuments at Cerro de las Mesas and to Stela 5 most specifically. 

Thanks to its deep relief and hard stone, this monument is extremely well preserved. Partly as a result, several quite acceptable photographs of it have been published in several books and articles dealing with Mesoamerican art. Stirling’s drawing of the monument is a fairly good guide to the details of the sculpture and text, but Porter’s unpublished drawing certainly improves on it. 

The Isthmian script, found on this monument, is a very early Mesoamerican writing system in use in the area of the Isthmus of Tehuantepec from perhaps 500 BCE to 500 CE, although there is disagreement on these dates. It is also called the La Mojarra script and the Epi-Olmec script (‘post-Olmec script’).

Isthmian script is structurally similar to the Maya script, and like Maya uses one set of characters to represent logograms (or word units) and a second set to represent syllables.

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Protoliterate Tabet

Sumerian, ca. 3100-2900 BC (late Uruk; Early Dynastic I-II) 

Red stone

From a unique group of early documents recording the transfer of land (in this case one “b'uru”- about 150 acres), this tablet illustrates the transition from a writing system based on pictures to one where signs represent sounds.  The vase and foot are easily recognized but represent sounds rather than objects.  In the bottom row, the two wavy lines sprouting plants is the sign for garden. 
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The Irish word for fairy is sheehogue [sidheóg], a diminutive of “shee” in banshee. Fairies are deenee shee [daoine sidhe] (fairy people).
Who are they? “Fallen angels who were not good enough to be saved, nor bad enough to be lost,” say the peasantry. “The gods of the earth,” says the Book of Armagh. “The gods of pagan Ireland,” say the Irish antiquarians, “the Tuatha De Danān, who, when no longer worshipped and fed with offerings, dwindled away in the popular imagination, and now are only a few spans high.”
And they will tell you, in proof, that the names of fairy chiefs are the names of old Danān heroes, and the places where they especially gather together, Danān burying-places, and that the Tuath De Danān used also to be called the slooa-shee [sheagh sidhe] (the fairy host), or Marcra shee (the fairy cavalcade).
On the other hand, there is much evidence to prove them fallen angels. Witness the nature of the creatures, their caprice, their way of being good to the good and evil to the evil, having every charm but conscience—consistency. Beings so quickly offended that you must not speak much about them at all, and never call them anything but the “gentry,” or else daoine maithe, which in English means good people, yet so easily pleased, they will do their best to keep misfortune away from you, if you leave a little milk for them on the window-sill over night. On the whole, the popular belief tells us most about them, telling us how they fell, and yet were not lost, because their evil was wholly without malice.
Are they “the gods of the earth?” Perhaps! Many poets, and all mystic and occult writers, in all ages and countries, have declared that behind the visible are chains on chains of conscious beings, who are not of heaven but of the earth, who have no inherent form but change according to their whim, or the mind that sees them. You cannot lift your hand without influencing and being influenced by hoards. The visible world is merely their skin. In dreams we go amongst them, and play with them, and combat with them. They are, perhaps, human souls in the crucible—these creatures of whim.

WB Yeats

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Writing Tablet

Roman, London

c. 80-120 AD

Scratched onto a wax layer, the lettering on this early 2nd century wooden writing tablet has survived. It is a deed of sale for a young female slave called Fortunata, described as ‘healthy and not liable to run away’. She cost 600 silver denarii - 2 years’ pay for a legionary soldier.

This gives us a rare glimpse into government staffing methods and the lives of Roman slaves: they could earn money and own slaves themselves. Fortunata was bought by a slave, called Vegetus Montanus, who worked in the treasury and who was, in turn, owned by another treasury slave.

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Archaeologists find primitive writing on 5,000-year-old relics in eastern China excavation

BEIJING — Archaeologists say they have discovered a new form of primitive writing in markings on stoneware excavated from a relic site in eastern China dating about 5,000 years back. The inscriptions are about 1,400 years older than the oldest known written Chinese language and around the same age as the oldest writing in the world.

Chinese scholars are divided on whether the etchings amount to actual writing or a precursor to words that should be described as symbols, but they say the finding will help shed light on the origins of Chinese language and culture. The oldest current known Chinese writing has been found on animal bones — known as oracle bones — dating to 3,600 years ago during the Shang dynasty. Read more.

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erikkwakkel

Learn about medieval handwriting

My posts contain a lot of images and references to medieval handwriting - script. Writing, of course, is the primary way of disseminating information in the age before print. Here is your chance to learn something about writing with the pen in medieval times. The University of London developed a FREE online course for medieval script, called InScribe. Among many other things, this course features four instruction films in which I discuss particular aspects of medieval books.

One of these is available publicly. In it I discuss how a medieval manner of writing developed over time. This is a fascinating process given that scribes had no Facebook or Twitter to coordinate their efforts. Still, scribes all over Europe started to change how they wrote in the same way. If you are interested, you can watch the full film (5 minutes) here. You can also download it from iTunes through the account of the School of Advanced Studies (here) - click link underneath the 1-minute preview.

Pic: Valenciennes, BM, MS 502 (c. 1100).

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books0977

Lois Long (right) pictured in her office at the New Yorker. Early 1920s.

Long (1901-1974) was the archetypal flapper: intelligent, beautiful and daring, she wrote insightful and witty commentary about fashion and NYC nightlife in the speakeasies for the brand new magazine The New Yorker. While Victorian suffragists found the “new woman” frivolous and apolitical, the flappers voted, worked, drank, smoked, and made love. In rejecting the old social order that expected women to be virginal and morally elevated, the flappers took ownership of what had been denied their mothers: the right to be sexy.

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