Sometimes theatrical costumes literally mimic what the costume designer thinks the character would wear if the character actually existed. On the other hand, often stylized theatrical costumes can exaggerate some aspect of a character. Without theatrical costumers, the audience would be left wondering who is related to whom, and which person is which.
SWAMP THING VOL. 4: A MURDER OF CROWS
This fourth volume in the saga of the Swamp Thing finds the man-monster interacting with Deadman, the Phantom Stranger, the Spectre, and the Demon as he continues on his journey of self-discovery. Traveling through the horrors of a haunted house, the improbabilities of the afterlife, the depths of hell and the heights of heaven, the Swamp Thing continues his evolution from a simple monster into a powerful elemental being with a potential to exceed the bonds of the Earth itself.
written by M(o)ore
'hollywood is for characters' wrote:Character development is a part of characterization through which a story teller informs the audience about the character's personality, history, thought processes, etc.â€”the better the audience knows the character, the better the character development.
The Thunder series describes the opening of the consciousness of the human race to ever deeper and subtler experiences of enlightenment. There exists a collective consciousness of humanity that underlies and permeates all of our beliefs and experiences. This collective identity is responsible for most of our world-views and individual experiences of reality. To change this collective belief system is typically quite slow, as it takes continual effort on the part of many over a long period of time.
In this and the subsequent books, the collective consciousness of humanity is personified and individualized as Lord Gana, a semi-divine prince who lived far before recorded history. Since Gana is the representative of all humanity, his struggles to master his own beliefs and judgments have the effect of transforming everyone else. At times aware of his universal status, at times ignorant of it, Gana moves through various life-experiences in the attempt to master the lower aspects of his nature and rise to complete consciousness. This continues with ever-greater complexity as his understanding of the connection of the individual to the Universe unfolds.
Gana does not work alone. He is never long without divine inspiration -- which most often takes the form of an unusual master of form transmutation, the Vidyadhara Airavata, also known as Heramann. Airavata is quite old and quite wise, the last of the ancient Vidyadharas, an intelligent race that was prevalent before the descent of our current human species. Usually unaware of his subtle and Eternal connection to the underlying essence of the incarnations of Gana, Heramann is nevertheless often drawn to assist him in his growth.
The omnipotent Power of the upward current of the Laws of Nature is also always present to support Gana; but he is not often aware of this. This force is personified as his feminine aspect, Almira. Almira is the second half of Ganaâ€™s soul, ever conscious; she is the Goddess, always in divine communion with the One; she is the Earth Mother, the Source of all Good for humanity, the personified Holy Spirit.
Gana is also ever watched, protected and guided by the incarnate wisdom of higher consciousness, portrayed in the Thunder books as his seven Teachers Vasuki, Mordom, Rodavi, who was later reborn as Joab, Vaga, Atri, Brihas, and Matri. Their relationship to Gana is one of gentle guidance and discipline.
All the other characters in this History are either manifestations of partial aspects of Ganaâ€™s infinite mind or else are his creations. Some of these creations are positive and represent the creative forces of nature: his children and the peoples he attempts to save from destruction and guide to higher levels of understanding. And some of these creations are negative, the destructive forces of nature personified and given form by Ganaâ€™s incomplete understanding of life: the Emperor
Valin and Valinâ€™s agents and minions, the Asurs and Rakshasas. In both cases, although having independent form and life, all his creations remain rooted in Ganaâ€™s mind.
Thus the rest of the Thunder series is a history of humanityâ€™s age-old attempts to achieve a stable and upwardly directed civilization. They stand also as a description of an individualâ€™s journey to enlightenment through numerous births.
Either reading is correct, for we are continually creating our own world. We project our beliefs and judgments outward; these return to us as our experiences of others, of history, of life, of matter. Each of us dreams our own world -- this means that each of us is ultimately responsible for our own creation. And therefore, each of us can change any of the rules governing our world at any time, resulting in a completely different world-view and a completely different world. Full realization of this simple fact is an acceptable definition of enlightenment. It is the Ishayasâ€™ hope that learning of the different levels of reality woven into this work will assist others to rise more quickly to the recognition of their primary authority in their own worlds. Then the healing of this Earth will be the sooner accomplished.
The value in using archetypal characters in fiction derives from the fact that a large group of people are able to unconsciously recognize the archetype, and thus the motivations, behind the character's behavior.
It derives from the Latin noun archetypum via the Greek noun arkhetypon and adjective arkhetypos, meaning "first-moulded". The Greek roots are arkhe- ("first" or "original") + typos ("model", "type", "blow", "mark of a blow").
Jung listed four main forms of archetypes:
Symbols of the unconscious abound in Jungian psychology:
The Syzygy ("Divine Couple")
The Ãœbermensch ("Superman", the Omnipotent)
The Great Mother
The Wise old man
The Trickster or Ape
The Puer Aeternus (Latin for "eternal boy")
The Cosmic Man
Shakespeare also borrowed heavily from a speech by Medea in Ovid's Metamorphoses in writing Prospero's renunciative speech; nevertheless, the unique combination of these elements in the character of Prospero created a new archetype, that of the sage magician as a carefully plotting hero, quite distinct from the wizard-as-advisor archetype
A pastiche is an imitation of an archetype or prototype in order to pay homage to the original creator.
the fire elf wrote:[Origin: 1705?15; < F < It: usage, habit, dress; doublet of custom]Sometimes theatrical costumes literally mimic what the costume designer thinks the character would wear if the character actually existed. On the other hand, often stylized theatrical costumes can exaggerate some aspect of a character. Without theatrical costumers, the audience would be left wondering who is related to whom, and which person is which.
why did you choose paint and plastic?
Indeterminism is the philosophical belief contradictory to determinism: that there are events which do not correspond with determinism (and therefore have no cause). There are generally three types of indeterminism. One version holds that some events are uncaused, another holds that there are nondeterministically caused events, and the third holds that there are agent-caused events.
The seven (7) main indeterminations in the field of modern arythmetics are the corner stone of quantum mechanics and the entire M-Theory
To become distinct or specialized; acquire a different character.
To make distinctions; discriminate.
Biology. To undergo differentiation.
A cell that is able to differentiate into many cell types is known as pluripotent.
In cell biology, a unipotent cell is a cell (e.g. a stem cell) that has the capacity to develop/differentiate into only one type of tissue/cell type. The most common of these in humans are skin cells. This cell has a unique property: self-renewal.
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