Chlouvānem/Literature: Difference between revisions
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==The Nāɂahilūmi Era== | ==The Nāɂahilūmi Era== | ||
The Conclave of 6308, at a time of worldwide prosperity masking however a lead-up to a large war, not only colonial but also in the Western homelands, and possibly threatening also the Inquisition's sphere of influence, resulted in what has been later analyzed as the most significative and (in the West) most traumatic event of the last century and a half: the election as Great Inquisitor of Kælahīmāvi Nāɂahilūma ''Martayinām'', who entered the Conclave as the Bishop of Līlta, the Inquisition's fourth-largest city, on the Jade Coast.<br/> | The Conclave of 6308, at a time of worldwide prosperity masking however a lead-up to a large war, not only colonial but also in the Western homelands, and possibly threatening also the Inquisition's sphere of influence, resulted in what has been later analyzed as the most significative and (in the West) most traumatic event of the last century and a half: the election as Great Inquisitor of Kælahīmāvi Nāɂahilūma ''Martayinām'', who entered the Conclave as the Bishop of Līlta, the Inquisition's fourth-largest city, on the Jade Coast.<br/> | ||
Great Inquisitor Nāɂahilūma was, likely, the last truly despotic ruler of the Inquisition, setting up a regime that was socially reactionary (for example revoking all civil rights that had been granted to men in the previous hundred years) with, however, a strong push towards collectivism and large-scale heavy industry, coupled with an external policy as expansionist as the Inquisition's proselytism of a thousand years before: the Chlouvānem had to spread the Yunyalīlti faith at all costs for the time was ripe for the world to be finally united in religion ("cleansed"), and because it was necessary to attack before the Westerners could threaten the Yunyalīlti world. Under the Nāɂahilūmi expansionist policy, the Inquisition annexed all of Greater Skyrdagor and all territories from the current Inquisitorial Northwest up to the Síluren Mountains (Chl.: ''Šīlala ga | Great Inquisitor Nāɂahilūma was, likely, the last truly despotic ruler of the Inquisition, setting up a regime that was socially reactionary (for example revoking all civil rights that had been granted to men in the previous hundred years) with, however, a strong push towards collectivism and large-scale heavy industry, coupled with an external policy as expansionist as the Inquisition's proselytism of a thousand years before: the Chlouvānem had to spread the Yunyalīlti faith at all costs for the time was ripe for the world to be finally united in religion ("cleansed"), and because it was necessary to attack before the Westerners could threaten the Yunyalīlti world. Under the Nāɂahilūmi expansionist policy, the Inquisition annexed all of Greater Skyrdagor and all territories from the current Inquisitorial Northwest up to the Síluren Mountains (Chl.: ''Šīlala ga ñaryai''), the western frontier of Evandor, inevitably leading to Calémere's deadliest ever war, the East-West "Global" War (6323-6326, called ''blautāmita nali saṃrasta'' "War for Cleanliness" in Chlouvānem sources). | ||
The most famous literary works of the Nāɂahilūmi Era, predictably, were influenced and patronized by the regime in order to act as propaganda, glorifying the Chlouvānem as the chosen people, saviors of the planet, on their holiest quest, and also acting as personal propaganda for Great Inquisitor Nāɂahilūma, who set up a cult of personality<ref>Itself nowadays strongly condemned and considered a kind of "step towards heresy".</ref>. The propaganda frenzy of the era was mostly not financed by the state – lots of artists began to create in this style as it was the most sought after. Nāɂahilūmi literature is sometimes called "new archaism", as it purposely brings back the epic themes of perfect heroes that were popular during the Toyubeshian expansion one millennium before, often though in the form of novels. Some works went as far as rewriting some Classical poetry epics in contemporary history, having as protagonists often heroic, fearless soldiers on the battlefronts of Vīṭadælteh (and, later, of Evandor), and otherwise enlightened missionaries converting people abroad to the "Real path of life".<br/>Contemporary critics usually avoid these kind of works when discussing the immortal classics of Chlouvānem literature, as no opera really stands out outside those of the same timeframe. Nevertheless, some novels such as ''Brausāmitom šerṣṭanah'' (an Immersion in Sanctity) by Martayināvi Tandalara ''Gārindelgīn'' or ''Gujaharimi šāhīn'' (Heroes of Gudžakharim<ref>A city in Soenyŏ-tave, site of a battle during the Nāɂahilūmi Era.</ref>) by Dēlenitāvi Naniga '' | The most famous literary works of the Nāɂahilūmi Era, predictably, were influenced and patronized by the regime in order to act as propaganda, glorifying the Chlouvānem as the chosen people, saviors of the planet, on their holiest quest, and also acting as personal propaganda for Great Inquisitor Nāɂahilūma, who set up a cult of personality<ref>Itself nowadays strongly condemned and considered a kind of "step towards heresy".</ref>. The propaganda frenzy of the era was mostly not financed by the state – lots of artists began to create in this style as it was the most sought after. Nāɂahilūmi literature is sometimes called "new archaism", as it purposely brings back the epic themes of perfect heroes that were popular during the Toyubeshian expansion one millennium before, often though in the form of novels. Some works went as far as rewriting some Classical poetry epics in contemporary history, having as protagonists often heroic, fearless soldiers on the battlefronts of Vīṭadælteh (and, later, of Evandor), and otherwise enlightened missionaries converting people abroad to the "Real path of life".<br/>Contemporary critics usually avoid these kind of works when discussing the immortal classics of Chlouvānem literature, as no opera really stands out outside those of the same timeframe. Nevertheless, some novels such as ''Brausāmitom šerṣṭanah'' (an Immersion in Sanctity) by Martayināvi Tandalara ''Gārindelgīn'' or ''Gujaharimi šāhīn'' (Heroes of Gudžakharim<ref>A city in Soenyŏ-tave, site of a battle during the Nāɂahilūmi Era.</ref>) by Dēlenitāvi Naniga ''Hālyehulca'' (two of whose sons actually fought in the battle of Gudžakharim) are still very popular reads today. | ||
===Nonconformist Nāɂahilūmi literature=== | ===Nonconformist Nāɂahilūmi literature=== | ||
The strong Nāɂahilūmi control on public opinion and propaganda machine favoured the birth of "flowism" (''buñjñanædani''), a markedly nihilist literary movement, strongly influenced by the earlier work of Lileikhurāvi Yukahināri '' | The strong Nāɂahilūmi control on public opinion and propaganda machine favoured the birth of "flowism" (''buñjñanædani''), a markedly nihilist literary movement, strongly influenced by the earlier work of Lileikhurāvi Yukahināri ''Mæmihūmya'', opposing the regime's rhetoric by depicting passive people, moral ambiguity, and a fading will to live. While some flowists – such as Bānditiāvi Raṣṇyabayeh ''Hānimausa'' – were aligned with the small anti-Nāɂahilūmi minority of Inquisitors, most of them never expressed a real political position, and simply stated their nonconformist attitude in their works.<br/> | ||
As a further sign of distancing themselves from the official rhetoric, most flowists adopted a highly symbolist, cryptic style of poetry, with a seemingly confused pattern of short and very long meterless verses, often concerned just as equally as words with the layout of the writing itself on paper. Both poetical figures and the smaller novel production of flowist literature are deeply characterized by the significant role of involuntary memory, and mostly wrote prose through stream of consciousness – expanding on the pioneer work by Yukahināri during the previous century, most notably in Tramway to the Beach. | As a further sign of distancing themselves from the official rhetoric, most flowists adopted a highly symbolist, cryptic style of poetry, with a seemingly confused pattern of short and very long meterless verses, often concerned just as equally as words with the layout of the writing itself on paper. Both poetical figures and the smaller novel production of flowist literature are deeply characterized by the significant role of involuntary memory, and mostly wrote prose through stream of consciousness – expanding on the pioneer work by Yukahināri during the previous century, most notably in Tramway to the Beach. | ||
Major flowist artists include | Major flowist artists include Bāndityāvi Šūsarim ''Ārṣan'', Mārtayināvi Galanai ''Lārta'', and Tālimausāvi Prātaga ''Jīvārdam'' – the latter's collection of poetry written while a conscript on the battlefronts of Vīṭadæltah, where he was injured by a bomb, losing both legs, is considered one of the greatest - and, remarkably, one of the first overall - examples of Chlouvānem pacifist literature. | ||
===Early cinematography=== | ===Early cinematography=== | ||