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Chlouvānem/Literature: Difference between revisions
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Completely casting the Kaiṣamā's ideology away from her work, Ṛcñahaidī's Mervés cycle shows a maniacal detail towards the conworlding aspect, which she defined as her main artistic goal, creating a representation of humanity by creating a recreation of it. But the early modern society of Mervés also had allegories of the contemporary world, with various short stories presenting the point of view of poor people, outcasts, people living at the fringe of society - and in some way, the whole epic cycle seems to be narrated from that point of view. It is not hard to see across Ṛcñahaidī's work a reflection of her beliefs that led her to live the anarchical life she lived: in her work, true honesty and moral integrity are in the outcasts, in those who do not recognize any god-given power over them. Especially in the early part of her work, written in the early part of the Kaiṣamā (before the ''Lila lili vi'' "revolution"), Ṛcñahaidī's anarchism was less directed to being against the formal power, challenging the informal power instead; that is, social norms and morals, by detailing sexual life of the Hrákin and other races of Mervés; actually, not that much more sexually libertine than the Chlouvānem, but not hypocritical about it. The fight against hypocrisy is perhaps a key factor in Ṛcñahaidī's creation of Mervés, and in her whole worldview - she had six children with no known father and never got married, something unthinkable for Chlouvānem society of her time. | Completely casting the Kaiṣamā's ideology away from her work, Ṛcñahaidī's Mervés cycle shows a maniacal detail towards the conworlding aspect, which she defined as her main artistic goal, creating a representation of humanity by creating a recreation of it. But the early modern society of Mervés also had allegories of the contemporary world, with various short stories presenting the point of view of poor people, outcasts, people living at the fringe of society - and in some way, the whole epic cycle seems to be narrated from that point of view. It is not hard to see across Ṛcñahaidī's work a reflection of her beliefs that led her to live the anarchical life she lived: in her work, true honesty and moral integrity are in the outcasts, in those who do not recognize any god-given power over them. Especially in the early part of her work, written in the early part of the Kaiṣamā (before the ''Lila lili vi'' "revolution"), Ṛcñahaidī's anarchism was less directed to being against the formal power, challenging the informal power instead; that is, social norms and morals, by detailing sexual life of the Hrákin and other races of Mervés; actually, not that much more sexually libertine than the Chlouvānem, but not hypocritical about it. The fight against hypocrisy is perhaps a key factor in Ṛcñahaidī's creation of Mervés, and in her whole worldview - she had six children with no known father and never got married, something unthinkable for Chlouvānem society of her time. | ||
The main reason of Ṛcñahaidī's importance lies, however, not in the intrinsic nature of her work, but in the impact the Mervés cycle had on Chlouvānem (and the Kaiṣamā's) society. The conworlding lore, the conlanging, the sense of straightforward escapism and freedom made her works popular grey market reads already in the early part of the Kaiṣamā, works that nearly | The main reason of Ṛcñahaidī's importance lies, however, not in the intrinsic nature of her work, but in the impact the Mervés cycle had on Chlouvānem (and the Kaiṣamā's) society. The conworlding lore, the conlanging, the sense of straightforward escapism and freedom made her works popular grey market reads already in the early part of the Kaiṣamā, works that nearly everyone traded, read, and knew, providing idioms to the slang of the then-Chlouvānem youth that persist in some sociolects of today's languages of the Inquisition, and most importantly inspiring other artists - for some as simple inspiration (Lānūṣurah acknowledged that she had started reading Ṛcñahaidī's works approximately at the time she was gathering ideas for ''Lila lili vi''), while the conworld itself lent plenty of lore that other artists used and set their works within, or made derivative works of, especially in music and theatre. "Fantasy music" is a whole subcultural phaenomenon (with some of the ideals of ''ṣmola'' and musical themes heavily inspired by ''kerachomā'') aesthetically and thematically inspired predominantly by the Mervés cycle; even more representative of how far her popularity went is how the Bhārmāligūyi theatre in Līṭhalyinām even wrote and represented an experimental pièce based on Ṛcñahaidī's novel ''Varūkthami gaimah'' (The Bow of Varúktˤa), part of the Mervés cycle, in 6368, a decade before the fall of the Kaiṣamā and fourteen years before the first official publication of any fiction work by Ṛcñahaidī<ref>Her book about the urban slang in the vernacular of Hålša was first published in 6366, shortly after she wrote it.</ref>. | ||
===''Læjāktoma'' (comics)=== | ===''Læjāktoma'' (comics)=== | ||