Beiträge von derTräumer
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wieso? Was war da das Problem?
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Oh, da werde ich dann wohl versuchen müssen an den Fritz Leiber Band zu kommen.
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heyho. Ich halte auch grad mein Exemplar in der Hand. Super geworden ist der Lovecrafter und der "bauchige" Umfang gefällt mir sogar besser als zwei kleine Ausgaben.
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Gabs da nicht mal was mit einem verflixten siebten Jahr?
Auf 100 weitere!
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Mich wundert hier, dass damals im Rahmen der Herr der Ringe Filme kein Verlag seine Chance gesehen hat...
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Nils Das Problem ist, das Edition Phantasia nur bedingt ein guter Ort für ein so wichtiges Projekt ist, wenn ich da an die Verfügbarkeit und die sogar für "special interest" Bände blumige Preisgestaltung denke.
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Dann weiß ich ja, warum mir Metal so suspekt ist 😉
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‘People think you’re an idiot’: death metal Irish baron rewilds his estateTrees, grasses and wildlife are returning as Lord Randal Plunkett recreates a vanished landscape in County Meathwww.theguardian.com
Mal wieder ein Artikel über den amtierenden Lord Dunsany und was auf Dunsany Castle so passiert.
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Der lieben Zeit Willen würde ich vorschlagen, dass wir:
1. an dem genannten Termin schauen, ob es Texte gibt, die "unbedingt diskutiert werden müssen" oder ob wir schlicht adhoc das ganze verschlanken können.
2. Wenn nach dem Termin noch imenser Redebedarf besteht könnte man das ganze um einen Folgetermin strecken. Drei Termine würde ich wirklich nicht gut finden.
Was denkt Ihr?
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Genau das meine ich. Er ist kritischer als Joshi, was ja auch (gerade auf den Rassismus bezogen) ja auch ein ständiger Pukt gegen Joshi ist.
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Für dieses Thema interessant und vielleicht auch für die AG, oder Rahel (?), ist ein Interview mit Bobby Derie, den ich mittlerweile für einen sinnvollen Nachfolger Joshis erachte.
Worldbuilding, Sex, & Death of the Author in Lovecraftiana
ZitatIs there any ‘balance’ that needs to be pursued by the current Mythos readers or writers? Is ‘balance’ an attempt to rein in these elements in to service the weird fiction, or does Lovecraft’s literary disinclination to sex and gender require corrective action?
Language is an imperfect means of communication. Authorial intent only goes so far as what they explicitly state on the page. How readers react to and interpret what they read, see, and hear is entirely their own province. So just because Lovecraft didn’t write any bedroom scenes in his Mythos stories doesn’t mean that readers can’t interpret his stories to have lots of sex in them. The balance that has to be struck is trying to differentiate between authorial intent in a text, as far as it can be construed, and how that same text is often received.A good case in point is probably the name of the cat in The Rats in the Walls. Today, this is often popularly considered a horrible example of Lovecraft’s racism — he named the cat the N-word! Not just a racial pejorative but one of the worst racial pejoratives in a contemporary American context. The name of the cat was the whole reason that editor Xavier Aldana Reyes left The Rats in the Walls out of the collection The Gothic Stories of H. P. Lovecraft (2018). It has become one of the go-to examples of Lovecraft’s racism.
It is true that Lovecraft was racist. It is true that the cat’s name is a racial pejorative. However, the nature of the name in the context of Lovecraft’s life and its use in the story don’t actually support the popular conception. In the late 19th/early 20th century, the N-word was not always considered as pejorative as it is today, and was in common use in many context — including pet names. Lovecraft was one of many people that used the N-word to refer to black cats and other pets, and the name of the cat in the story was borrowed from his own childhood pet. That is the full extent of the cat’s name in The Rats in the Walls: a descriptor for a black cat that recalls Lovecraft’s own beloved lost feline… and nobody during his lifetime appears to have had a problem with it, which in itself says something about the ubiquity of the term.
Does that make the cat’s name okay today? No. In many contemporary translations of the work to other languages, the cat’s name is changed to something like “Blackie” or “Black Tom.” Yet it should be understood like the N-word in Huckleberry Finn: an example of the ubiquity of racial pejoratives in Lovecraft’s time. Not to be emulated, but to be understood in that context.
Sex is generally less contentious, just because there’s nothing explicit in Lovecraft’s writings, sexual attitudes have in general opened up to be more permissive, and because the Mythos is so open-ended that everyone can develop things as they see fit. If you write a sexually explicit scene between Cthulhu and your original character, there’s probably going to be more folks upset about the sexually explicit part than that Cthulhu is involved.The first time I was ever exposed to ‘Death of the Author,’ it was in the context of separating art and artist when the artist is of dubious or objectionable moral character — such as Woody Allen or more recently JK Rowling. The problem here is that Woody Allen is so entrenched in his own work, Rowling is now famous for inserting paratextual elements presented as narrative fact post-publication, and both creators are still alive and profiting from the consumption of their work; it is not really possible to remove the author from the text, if indeed it is possible to remove any author from any text. Which brings us to Lovecraft: many people have taken issue with the personal views he’s espoused in his life. His racism is at times deployed by his detractors as a sort of critical trump card. Readers can refuse to read a text for any reason — if the cover is ugly, if it has bad reviews on Amazon, or — of course — because the author was a known racist. However, if this criticism of Lovecraft-the-man is used to disparage the body of his work and discourage readership, what defense can be mounted in response?
Never defend racism. Never defend Lovecraft’s racism. Never deny it. Lovecraft was racist. Full stop. If people don’t want to read Lovecraft because he was racist, that is fair enough. Their choice. Now, there are many good reasons to read Lovecraft despite his racism. Many of his stories are excellent, and he has had huge impact on weird fiction, horror, and fantasy, as well as roleplaying and worldbuilding in general. The Cthulhu Mythos is one of the largest, most established, and accessible shared universes in existence, and because pretty much all of Lovecraft’s fiction is in the public domain, it is very tempting and easy for people to use it. Using it well requires reading Lovecraft.
A lot of fans get defensive about Lovecraft when people accuse him of racism. This is especially true as a lot of the claims about Lovecraft’s racism are exaggerated, inaccurate, or poorly made; folks tend to knee-jerk to his defense. This is an instinct that should be resisted. Lovecraft was racist, and that racism itself should never be defended. Yes, it is true that racism was rampant during Lovecraft’s lifetime — he lived during the nadir of race relations in the United States, when segregation was legal, when anti-immigration bias and antisemitism was rampant; he saw the rise of the second Ku Klux Klan and the Nazi party, and while he himself never participated in a lynching or othe racial violence, it’s damning with faint praise if the best you can say of Lovecraft is that he never personally assaulted an African-American. Fans should never get into the game of trying to figure out if Lovecraft was more or less racist than his contemporaries, because the answer is both. Lovecraft was friends with James F. Morton, who was an early member of the NAACP and wrote a tract against race prejudice, and Lovecraft was friends with Robert E. Howard, who shared most of the same racial prejudices he did. Both men published in Weird Tales, which had the n-word in its pages from the first issue.
So… don’t try to defend Lovecraft. Try something harder: understanding the context in which his fiction was written, his worlds built. What influenced Lovecraft? How did Lovecraft influence those who came after? When you look at the idea of fantasy ‘races,’ that’s coming out of the late 19th/early 20th century racialism that was being drawn on by writers like Edgar Rice Burroughs, H. P. Lovecraft, and J. R. R. Tolkien. They weren’t writing this stuff in a bubble. -
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Eine wunderbare Anthologie, die Zeigt, dass das Goldene Zeitalter der Horror-Anthologie gute 50 Jahre her ist.
Genau diese Hardcover-Sammlung steht auch hier bei mir und ich freue mich sehr sie zu haben. Ich weiß gar nicht mehr recht, wie/wann sie zu mir gefunden hat, aber es muss vor 5-6 Jahren gewesen sein, als ich viele der 60er und 70er Anthos antiquarisch ergattert habe.
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könnten wir so machen. Ich selbst bin aber jetzt eher nicht dafür das Buch über mehrere Termine zu ziehen. (Schlicht, weil ich mich nach dem Termin immer schon auf das nächste Projekt freue) [Ich würd nähmlich lieber im Herbst oder Winter etwas ganz neues thematisieren wollen]
Wenn aber alle hier an der Teilnahme interessierten gerne möchten können wir es natürlich 3x7 handhaben.
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Kain bitte berichte, wenn du durch bist nochmal deinen Gesamteindruck.
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Hiho,
jenachdem, was du genau möchtest...
Wenn du nah an Lovecraft sein möchtest, dann kann ich nur hierzu raten:
https://www.amazon.de/Tales-Cthulhu-…22196758&sr=8-6
Wenn du den Begriff "kosmisch" weiter fasst:
https://www.amazon.de/Land-Time-Fant…22196952&sr=8-1
Auch sehr beliebt:
https://www.amazon.de/William-Hope-H…22197030&sr=8-1
Und wenn es anspruchsvoll und wirklich merkwürdig sein soll: