§1.0 - Points 1.0–1.13: THIS BLOG'S CONTENTS:
1.1 - THIS BLOG'S TITLE:
1.2 - PART V. DEEPER BENEATH THE SURFACE: THE PERSECUTION OF CHANGELINGS.
1.3 - THIS BLOG'S LISTED SECTIONS AND NUMBERED POINTS:
1.4 - §2.0: Points 2.0–2.12: THE DISCLAIMER /
1.5 - §3.0: Points 3.0–3.3: THE DATES OF RESEARCH, WRITING AND ON-LINE PUBLICATION /1.6 - §4.0: Points 4.0–4.21: A BRIEF COMMENTARY REGARDING THIS SERIES OF BLOGS AT 'THOUGHTSDISJECTAMEMBRA' /1.7 - §5.0: Points 5.0–5.16: SOME VISUAL EXAMPLES OF SUPER-REALISM /1.8 - §6.0: Points 6.0–6.22: REVISITING THE SUPER-REALIST ÆSTHETIC IN PROSE POETRY AND FILM /1.9 - §7.0: Points 7.0–7.20: DEEPER BENEATH THE SURFACE: THE PERSECUTION OF CHANGELINGS /1.10 - §8.0: Points 8.0–8.13: THE WITCHES EXCLUDE THE CHANGELING AND THE CHANGELING EXCLUDE THE WITCHES /1.11 - §9.0: Points 9.0–9.23: SIMILAR TO THE CHANGELING: THE LOVE-CHILD /1.12 - §10.0: Points 10.0–10.11: THE NATIVITY OF THE BABY JESUS CHRIST /1.13 - §11.0: Points 11.0–11.10: A BRIEF AFTER-WORD //
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§2.0 - THE DISCLAIMER—Points 2.0–2.14.
2.1 - All rights reserved © Craig Steven Joseph Lacey, 4 December 1976–, Australia. 2.2 - Changing the content or re-publishing this blog is strictly prohibited. 2.3 - This blog is protected by the: 2.4 -Privacy Act 1988 of Australia, against unauthorized access to Craig Steven Joseph Lacey's Samsung Galaxy A05s, and Google account; 2.5 - Cybercrime Act 2001 of Australia, against computer fraud or internet fraud; 2.6 - Copyright Act 1968 of Australia, against intellectual property theft; 2.7 - Universal Copyright Convention, circa 1952; 2.8 - Berne Convention for the Protection of Literary and Artistic Works, 9 September 1886. 2.9 - Fines and/or prosecution will apply according to Australian and International law in reference to unauthorised access and use of this blog published through the Blogger app of Google.com and the author's storage device(s) with the data. 2.10 - Images used in this blog include: 2.11 - At point 5.7, a jpeg of the photograph: Untitled, circa 2005, by Gregory Crewdson, chromogenic print, 144.8 centimetres × 223.5 centimeters, at The Met, Fifth Avenue, New York City, sourced, 15 August 2024, from the URL: <https://www.metmuseum.org/art/collection/search/818025>. 2.12 - At point 5.11, a jpeg the photograph: Baby, circa 2000, 26 centimeters x 12.1 centimetres x 5.3 centimetres, of the sculpture by Hans Ronald Mueck, sourced at the Thaddaeus Ropac website, 15 August 2024, from the URL: <https://ropac.net/artists/63-ron-mueck/works/12902/>. 2.13 - At point 5.13, Gilles And Two Flowers, circa 2006, 168 centimeters × 107 centimeters, acrylic on linen, by Ben Schonzeit, sourced at Artsy 15 August 2024, from the URL: <https://www.artsy.net/artwork/ben-schonzeit-giles-and-two-flowers>. 2.14 - At point 6.12, a film still from: You Are Not My Mother, 13 September 2021, 93 minutes, directed by Kate Dolan, Fantastic Films, that portrays Char, acted by Hazel Doupe, and Rita, acted by Ingrid Craigie, in a window-lit scene at dusk, with Rita's reflection visible in the back-ground, behind Char who is seen listening to to her grand-mother within a lounge space.
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§3.0 - THE DATES OF RESEARCH, WRITING AND ON-LINE PUBLICATION—Points 3.0–3.4.
3.1 - This blog was started with draft notes: 21 April 2023 – 9 May 2023, then re-worked: 7 August 2024 – 15 August 2024. 3.2 - Researched and composed, 21 April 2023 to 15 August 2024, by Craig Steven Joseph Lacey at Brisbane City, Queensland, Australia, 4000. 3.3 - The word count of this blog: 6,183 words and 37,590 characters with spaces. 3.4 - Last up-dated: 02:37, 26 August 2024, Australian Eastern Standard Time.
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4.0 - A BRIEF COMMENTARY REGARDING THIS SERIES OF BLOGS AT 'THOUGHTSDISJECTAMEMBRA'—Refer to Points 4.0–4.21.
4.1 - The cultural representation of the extensive persecution of changelings, going from my experience, is poorly represented because of problems regarding censorship in main-stream Western World culture—and as far as I am aware, a similar case of censorship exists in Eastern World culture. 4.2 - There needs to be greater representation of the changeling superstition and its causes of persecution to white, Anglo-Saxon, Christian—mostly Baptist—children, at least in order to prevent such horrific forms of torture and killing from recurring. 4.3 - In reference to the scarcity of material and my claims of its occurrence, perhaps this matter of the changeling and holocaust is, as the character, the so-called expert, the psychotherapist, Doctor Klemperer—of the film: Suspiria, 7 September 2018, 152 minutes—would announce: "delusion; it's delusion"? 4.4 - As briefly discussed through my blog series, texts that focus upon the changeling: the half-human child, and in a number of cases, half-human adult, exist in less numbers and complexity than the changeling persecution and holocaust deserves in representation—even in the mythified representation it receives. 4.5 - If I write on the matter in greatly historical terms and it becomes demystified to the extent it becomes consequential, there is a problem. 4.6 - Such that by writing on this matter at the prima facie levels—of the folk-lore and æsthetics—its memory at least keeps alive, rather than it fall to the forgotten realms of the world where it will repeat ad infinitum. 4.7 - But may I probe slightly deeper, in reference to my theory of the super-realist style, that I have argued to be an æsthetic of the every-day re-invested with qualities of "the numinous", regarding which, I will re-affirm here now: as an adjective defined as 'evoking a sense of the mystical, sublime, or transcendent; awe-inspiring'. 4.8 - Derived from the noun: 'numen', it refers to: "nod", that means to confer divine will, command or majesty. 4.9 - Comparison can be made to Immanuel Kant's philosophical use of 'noumenon': a Greek term referring to an unknowable reality underlying all things: regarding which refer to: 4.10 - The Critique Of Pure Reason, circa 1781, by Immanuel Kant—and note I have down-loaded a German publication to my Samsung Galaxy A05s: the second edition 1787, in the German language: Kritik Der Reinen Vernunft, circa 1781, that contains closer to the original number of pages, approximately 850, than the English language publications. 4.11 - 'Noumenon' is contrasted with 'phenomenon', the latter of which is concerned with observing the appearances of the world; whereas 'noumenon' refers to the essences of the world, of the thing-in-itself, which remains beyond humanity's precise interpretation, though Immanual Kant indicates the 'noumenon' is connected to the moral order, and morality is a subject discussed in many fields of the humanities and religion that is set aside here for æsthetical and sociological enquiry. 4.12 - The numinous is associated to the noumenon, but there is in reference to the numinous a definition of the divine presence of a thing; a notion explained in reference to: 4.13 - The Idea Of The Holy: An Inquiry In to The Non-Rational Factor In The Idea Of The Divine And Its Relation To The Rational / German: Das Heilige: Über das Irrationale In Der Idee Des Göttlichen Und Sein Verhältnis Zum Rationalen, circa 1917, by the German theologian and philosopher Rudolf Otto; 4.14 - Re-published: 27 June 2021, Wipf And Stock, English language, paper-back, 260 pages, ISBN-10: 1666731404, ISBN-13: 978-1666731408. 4.15 - Rudolf Otto describes the numinous as a Latin: mysterium / mystery, that is at once: 'tremendum' / terrifying and 'fascinans' / fascinating. 4.16 - I argue the super-real æsthetic approaches aspects of this definition of the numinous, particularly as something beyond affect / feelings—as something felt and sensed beyond explanation; as deep mystery. 4.17 - The giallo form with a murder mystery threaded through its films, similar to film noir, regarding which I have discussed in detail in reference to Dario Argento's 'Three Mothers Trilogy', involve a detective mystery that can be solved based on reason, but the giallo form takes such matters of deductive reasoning to a realm that is numinous and defies explanation. 4.18 - It may be that such a realm is that of the censored, viz. censored history—what I have referred to as dark history, regarding which I argue my experience exists as labelled a changeling and being persecuted for it. 4.19 - The æsthetic is a sensory matter that connects to something outside the ambit of language, as experiential, and to a locality / locus, similar to the texts of the urban legend genre, where the truth of a mystery is narrated and explained, and further, there is always a remainder outside explanation and is evoked by the place in which it happened. 4.20 - I discussed in my first blog that the index of repressed memories often corresponds to haunting spaces that exist in such capacities inasmuch that it is kept in the realm of dark history: accessible to some people, though not all people; similar to how the dark web is accessed by some people, though not all people. 4.21 - The persecution of changelings, is an omission that may be over-looked for its intermittent absence within spaces; places; nations; but I hope for such wide-scale ignorance or indifference to change.
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5.0 - SOME VISUAL EXAMPLES OF SUPER-REALISM—Refer to Points 5.0–5.16.
5.1 - The æsthetic is not exactly religious as such (though possibly of a cult), nor of surrealism, nor dadaism. 5.2 - I believe the visual styles of this æsthetic are implemented by a number of artists whose works confer with the cinematography used in the films / television series directly based on the subject of the changeling, such as: 5.3 - The Changeling, 28 March 1980, 107 minutes, directed by Peter Medak; 5.4 - Changeling, 24 October 2008, 142 minutes, directed by Clint Eastwood; 5.5 - You Are Not My Mother, 13 September 2021, 93 minutes, directed by Kate Dolan; 5.6 - The Changeling, television series, 8 September 2023, created by Kelly Marcel and directed by Melina Matsoukas for Apple TV+—based on the eponymous novel by Victor LaValle. 5.7 - The photography by Gregory Crewdson, born 26 September 1962–, the United States Of America, a further example of which, I have placed directly beneath: 5.8 - Untitled, circa 2005, chromogenic print, 144.8 centimetres × 223.5 centimeters, at The Met, Fifth Avenue, New York City, with the credit line: Promised Gift of Ann Tenenbaum and Thomas H. Lee, in celebration of the Museum’s 150th Anniversary.
5.9 - The sculpture by Hans Ronald Mueck, born 9 May 1958–, for example: 5.10 - Baby, circa 2000, 26 centimeters x 12.1 centimetres x 5.3 centimetres: the figure depicted by Baby, circa 2000, was taken from a photograph, upside-down, that Hans Ronald Mueck found in a medical text-book of a new-born, held aloft by its feet moments after delivery, the sight of which: ‘set [Hans Ronald Mueck] marvelling at the alien strangeness of these raw, brand-new creatures, and sowed the idea for a work’—refer to: 5.11 - page 75, Ron Mueck: A Girl, circa 2007, by Susanna Greeves and Craig Raine, CAC Malaga, 78 pages, ISBN-10: 8496159523, ISBN-13: 9788496159525. 5.12 - The photograph of the sculpture: Baby, circa 2000, 26 centimeters x 12.1 centimetres x 5.3 centimetres, by Hans Ronald Mueck, born 9 May 1958–, is directly beneath.
5.13 - Paintings of 'momento mori' by Ben Schonzeit, born 9 May 1942–, the United States Of America, for example: 5.14 - Gilles And Two Flowers, circa 2006, 168 centimeters × 107 centimeters; 5.15 - The art of Ben Schonzeit is described as hyper-realist by many theorists, though I argue, because mystery is invested in his work, it bridges super-realism, similar to the enigmatic art-work of: René Magritte.
5.16 - Acknowledge that the list of art-works is indicative rather than exhaustive.
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6.0 - REVISITING THE SUPER-REALIST ÆSTHETIC IN PROSE POETRY AND FILM—Refer to Points 6.0–6.22.
6.1 - There appears to be no exact equivalence to poetry, such as to declare a set of texts of the super-realist poets, rather it is an apparent æsthetic movement. 6.2 - There is prose poetry or the proem form that is itself suggestive of super-realism—for example, the first text to reflect the proem form: 6.3 - Gaspard De La Nuit—Fantaisies À La Manière De Rembrandt Et De Callot / English: Treasurer Of The Night—Fantasies In The Manner Of Rembrandt And Callot, circa 1845, by the Italian-born French poet Aloysius Bertrand, an excerpt of which is provided here: 6.4 - 'C'était un pauvre diable dont l'extérieur n'annonçait que misères et souffrances. J'avais déjà remarqué, dans le même jardin, sa rodingote râpée qui se boutonnait jusqu'au menton, son feutre déformé que jamais brosse n'avait brossé, ses cheveux longs comme un saule, et peignés comme des broussailles, ses mains décharnées, paeilles à des ossuaires, sa physionomie narquoise, chafouine et maladive qu'effilait une barbe nazaréenne; et mes conjectures l'avaient charitablement rangé parmi ces artistes aux petit-pied, joueurs de violon et peintres de portraits, qu'une faim irrassasiable et une soif inextinguible condamnent à courir le monde sur la trace du Juif-errant. / He was a poor devil whose exterior announced only misery and suffering. I had already noticed, in the same garden, his thread-bare rodingote that buttoned up to his chin, his misshapen felt hat that had never been brushed, his hair as long as a willow and combed like brushwood, his emaciated hands, straw-like in ossuaries, his mocking, grumpy and sickly physiognomy that was thinned by a Nazarene beard; and my conjectures had charitably ranked him among those small-footed artists, violin players and portrait painters, whom an unquenchable hunger and an unquenchable thirst condemn to roam the world on the trail of the Wandering Jew'—from: The Project Gutenberg website, sourced: 15 August 2024, at the URL: <https://www.gutenberg.org/cache/epub/17708/pg17708-images.html>. 6.5 - The narration is paused for a moment of conjectural observation upon a character whose description is ladden with imagery and allusions; particularly within the second, long sentence that uses the rhetoric of 'accumulatio', the amassing of signs, to meet with a semi-colon, that conjoins a further sentence fragment, in mirrored reflection to surmise of a philosophical or numinous perspective, that the vagrant man is comparable to the "Wandering Jew". 6.6 - The prose is similar to the poetic form that starts with observations of details which shunt up in to a totalizing philosophical or numinous summation. 6.7 - The writing of Thomas De Quincey has featured in my blogs and I refer again to his prose poetry: Suspiria De Profundis, circa 1845, as excerpted here: 6.8 - 'At midnight the secret word arrived; which word was—Waterloo and Recovered Christendom! The dreadful word shone by its own light; before us it went; high above our leaders’ heads it rode, and spread a golden light over the paths which we traversed. Every city, at the presence of the secret word, threw open its gates. The rivers were conscious as we crossed. All the forests, as we ran along their margins, shivered in homage to the secret word'—from: page 114, Suspiria De Profundis, circa 1845, by Thomas De Quincey: an evocation of Thomas De Quincey's dream, supposedly influenced by laudanum that uses 'pathetic fallacy': the anthropomorphism of the land. 6.9 - 'Pathetic fallacy' is a form of rhetoric that entertains the beliefs of animism, such that, while the whole world is infused with spirit and movement / animation, some localities are more so than others. 6.10 - An approach that is visible in Gregory Crewdson's photography, where the space that surrounds the person portrayed is as evocative, if not more than the portrait of the person in the image—an effect achieved through lighting and visual puns with mirrors and props: the indexical phenomena, viz. the trampled rose petals or flowers, all of which testify of an occurrence that may go unspoken: only known to who experiences it in their "dark hour". 6.11 - In further regard to: You Are Not My Mother, 13 September 2021, premiered at Toronto International Film Festival, 93 minutes, directed by Kate Dolan, the cinematographer Narayan Van Maele uses a similar diffused back lighting interspersed with smaller filler-lights all of which are lit by a low-key lighting scheme within the camera's perspective: that is a similar technique used in Gregory Crewdson's photography that approaches chiaroscuro treatments. 6.12 - Refer to a film still directly beneath from: You Are Not My Mother, 13 September 2021, 93 minutes, in which Char is lit in very low-key lighting, almost cast in silhouette, with a mirror as a visual pun on perspective that suggests her grand-mother demands of Char to be her.
6.13 - Further, as briefly discussed in the blog: <https://thoughtsdisjectamembra.blogspot.com/2024/03/10-title-part-i-re-films-suspiria-circa.html>: '(A) Protracted: with moments which dwell for too long [on the subject]' and the text being: '(B) Over-edited'—there are counter-expectant dilations upon a subject that involve a mysterious lack of exposition caused by over-editing, the effect of which is to imbue the prolonged meditation with the portentous or numinous. 6.14 - The transition from the static photograph to cinematography involves the dimension of time through which focus upon a narrative is directed: a matter that is closely aligned to the signification of the narrative that exists as a structure that is itself symbolic. 6.15 - There are many film-genre encoded conventions, but a cut in the editing of a sub-plot generally signifies an ending, not necessarily death—and I suspect that audiences unconsciously believe the non-acting actors have gone for a sleep until they are "back on stage" even when film is the medium being used—but also, the cut symbolizes a reformation of sorts, that itself involves an anxiety regarding change. 6.16 - Dario Argento has accentuated the audience's suspense of the murder suggested to occur of Susie, but the cut of film editing partially substitutes for it. 6.17 - Here is the recurring theme of the return of the satyrs also discussed in reference to: <https://thoughtsdisjectamembra.blogspot.com/2024/03/10-title-part-i-re-films-suspiria-circa.html>, reminiscent of the theatrical form of the masque, in which satyrs exist as perennial "scene shifters" who change the mise-en-scene as animating spirits of the represented locality, but this interpretation is of an animistic belief seemingly ignorant of the technicalities of John Ruskin's theory of rhetoric 'pathetic fallacy'—on which point refer to: 6.18 - Modern Painters, circa 1843 –circa 1860, 5 Volumes, by John Ruskin, re-published: 1 April 1988, Alfred A. Knopf, approximately 232 pages, English Language, ISBN-10: 039456846X, ISBN-13: 978-0394568461, and further, on-line: 6.19 - Modern Painters, circa 1856, §5, Part 4, Volume III., circa 1856: <https://www.ourcivilisation.com/smartboard/shop/ruskinj/>. 6.20 - With ever increasingly sophisticated special effects in film which cross-over the traditional boundaries of film convention, audiences are far greater in their skepticism then ever before, and John Ruskin's original significance of 'pathetic fallacy': as a falsely constructed metaphor that perceives inanimate or dead things as truly alive, is often a pact taken with the putative father figure as to accept the mortifying effects of such delusion: where 'delusion' is a belief in something that is untrue. 6.21 - As compared to the truth of the miracles of Jesus Christ which set the soul free: 6.22 - 'A miracle is to be distinguished from wonders wrought by designing men through artful deceptions, occult sciences, or laws of nature unknown except to adepts'—from on-line: "Miracle", The American Tract Society Bible Dictionary portal of the website Bible Hub: <biblehub.com>, sourced, 14 August 2024, from URL: <https://biblehub.com/dictionary/amtract.htm>.
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7.0 - DEEPER BENEATH THE SURFACE: THE PERSECUTION OF CHANGELINGS—Refer to Points 7.0–7.19.
7.1 - Many films of the giallo, super-natural thriller and horror genres, exploit traumatic history and traumatic moments common to many people—however insensitively and cruelly—but there are traumas which exist at the very peripheries of collective memory that have only a ghost-type or residual effect of representation, such as I argue is the case of the history of the changeling. 7.2 - To reach at the truth of the possible racial and religious persecution, such as I myself have experienced by being labelled and mistreated as a changeling, the aspects of the truth of such sensationalized accounts in texts must be brought in to focus by argumentum ex silentio. 7.3 - While the filmic treatment is of fiction, the truth of horrific abuses done to white, Christian children, left orphaned and vulnerable, is the truthful element that by an effect of euhemerism is mythified and sensationalised in the texts, but the censorship causes for the ex silentio; the silent mystery. 7.4 - The changeling of the film: The Changeling, 28 March 1980, 107 minutes, directed by Peter Medak, refers to a spirit connected to an old house that the protagonist buys with his wife, and the house is of a Dutch / West German architectural style and the ghost: a white boy, the home's isolated inheritor, was beaten and made disabled, locked in the attic for his brief life, and, it is inferred, that the servants took the property over and sold it as though it was legally theirs. 7.5 - While strange superstitions entered the people's minds, particularly regarding the orphaned, disabled or marked child, the façade of the Christian way of life was maintained, to indicate a socio-cultural schism. 7.6 - At this point, I further consider Thomas De Quincey's reference, as excerpted above, to 'the secret word' that 'arrived' which was: "Waterloo and Recovered Christendom!" 7.7 - Christianity is still reported as the most populous religion in the world, yet Christendom fell; it was not recovered. 7.8 - The Battle of Waterloo was, along with the Allies' victory during the second world war, exemplary of wars which made the history books; that is, when other unrecorded battles, nip by nip, led to the over-throw of the last Christian nations, arguably as recent as circa 1990. 7.9 - Such battles were conducted at the regional levels, on the domestic and business fronts; not battles as such, but troops of militia, corrupt police or gangs going about and committing massacres, here and there, not all at once, upon the Christians left without husbands and fathers after the war—with fewer yet "Christian remnants", children often left locked-up by foreign domestic servants who had secretly committed "mutiny". 7.10 - Regarding this matter of the early fall of Christendom refer to: 7.11 - The Fall Of Christendom: The Road To Acre 1291, 15 October 2021, by W.B. Bartlett, Amberley Publishing, English Language, hard-cover, 320 pages, ISBN-10: 1445684179, ISBN-13: 9781445684178. 7.12 - Once the so-called puritan Christians of the Baptist creeds opened wide gates to extend to our fellow humans, in the gist of humanism, our cities, townships and rural lands, and despite being depleted in numbers after the second world war, nonetheless were exploited and murdered, as though none of it happened. 7.13 - This is because of the justification made by the perpetrators, that such whites deserved it: they were getting back what was done to the blacks. 7.14 - Many "blacks" applied racism upon "whites" because they assumed all whites were the same in racism against them, but there were different whites; a point of which I have written in this series of blogs in reference to the Celts / Galls and Aryans / Assyrians, between who persecutions occurred and the Celtic Christians were the least racist of people. 7.15 - Ethnic difference as a matter of skin colour set aside, it became a matter of superstitious or religious persecution, as the notion of changelings refers to a belief that the real son or daughter has been taken by goblins who left an impostor and deformed goblin-child or fairy-child in its place. 7.16 - My experience, as I can remember, is that the pervasiveness of the persecution of changelings during the 1970s until the 1990s was almost all-encompassing, yet according to historical documents from various nations, and further fictionalized texts, the changeling persecution, if it occurred, occurred randomly and infrequently—if at all. 7.17 - At this point in time, my blogs engage with similar sorts of critical discourses as the so-called structuralists, such as Roland Barthes or Jacques Derrida, who analyse the 'text' for cultural and sociological significance that "make room for difference", rather than censure interpretations that are incompatible with the establishment. 7.18 - The further film: Changeling, 24 October 2008, 142 minutes, directed by Clint Eastwood, is well-known to be based on historical fact, viz. on the Wineville Chicken Coop serial killer, circa 1926 – circa 1928, viz. Gordon Stewart Northcott with his mother, Sarah Louise Northcott, of Jurupa Valley, California, 91752, regarding which I briefly passed comment in this blog: 7.19 - '11.5 – There is no problem of racial integration or cultural / ethnic territorialities at 1920s California—quite unbelievably—on which point, the usurpation of white boys for other "white" boys, may not necessarily have correlation to a myth, but a gradual usurpation; an invasion of attrition at the neighbourhood scale, conducted "just quietly" amid the lucrative Western World society of California. 11.6 – The media has been involved to sort of record it and mitigate it, as might propaganda be used, sensationally, as an extension of folk-lore: the truth always refers to a conspiracy which must be denied, mythified or brocaded in style'—from: <https://thoughtsdisjectamembra.blogspot.com/2023/04/part-i-craig-steven-joseph-laceys.html>.
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8.0 - THE WITCHES EXCLUDE THE CHANGELING AND THE CHANGELING EXCLUDE THE WITCHES—Refer to Points 8.0–8.13.
8.1 - A formulation of almost mutual exclusion arguably is found in relation to not only texts involved in the narration of the changeling, but the witch also. 8.2 - It may be discerned that where one is portrayed as in the twilight and shadows of the world, the other is centre-stage—a divide upon the traditional Christian notions of motherhood, and we are to accept this injustice as an effect of modernization rather than the witch-craft religions. 8.3 - One of the reasons I write often in reference to the film: 8.4 - You Are Not My Mother, 13 September 2021, premiered at the Toronto International Film Festival, 93 minutes, directed by Kate Dolan, Fantastic Films, Ireland; 8.5 - is because it represents the exception of an integrated narrative of the changeling and witch, though, as discussed, both are represented in a subdued, repressed context—as an effect of over-editing—and as though a hidden figure, "Mephistopheles", lurks behind the cinema's screen itself: such a figure could as easily be Josef Stalin or Mao Zedong or any other brutal dictator. 8.6 - Char must, according to the unspoken lore, burn her changeling mother in order to become a witch and this is a reversal of "mutterrecht", as to indicate that the witch has been involved in killing infants or children, who could be described as bastards of a foreign heritage. 8.7 - One of the great mythic narratives of the witch is based on the witch, Medea, as celebrated by the texts: 8.8 - Medea, 432 B.C., a play of a tragedy by the Ancient Greek playwright Euripides, that was adapted to film in: 8.9 - Medea, 1 April 1988 Denmark, 76 minutes, directed by Lars von Trier with a screen-play by Carl Theodor Dreyer. 8.10 - Further there is: Argonautica, 3rd century, by Apollonius of Rhodes, the epic; re-published, circa 2008, translated by Robin Hard, Oxford University Press, 336 pages, ISBN-10: 0199536325, ISBN-13: 9780199536320. 8.11 - Within such texts, Medea is the archetypal helper-maiden who initially assists Jason in his task of retrieving the golden fleece because, it is inferred, of her love for him, such as to indicate her later marriage and children with Jason symbolize a romantic love pact. 8.12 - After ten years of marriage Medea rises up for revenge, when Jason declares he will marry the Corinthian king's daughter and organise for their children to live with him, because she murders their children and King Creon's daughter, later to re-settle at Iran. 8.13 - The mother's filicide appears to be influenced by her feelings towards the children's father, such as the pathos for revenge and wrath, rather than be a gesture, at the very beginning, of a witch-craft "religion".
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9.0 - SIMILAR TO THE CHANGELING: THE LOVE-CHILD—Refer to Points 9.0–9.23.
9.1 - A 'love-child' is an hyphenated compound noun used as an euphemism to refer to a child born out of wed-lock, but who is a result of a romantic affair, rather than a "lusty fling". 9.2 - The love-child is of an extra-marital affair of true and passionate romance, such as to symbolise the famed, though often secret love between the involved couple. 9.3 - Because the affair is outside of the laws of marriage, the notion of love as an honourable or chivalric ideal and experience, as of courtly love, becomes symbolic of infidelity and betrayal in the context of the third, married partner. 9.4 - The love-child symbolizes the abandons of love's passion for breaking the rules of marriage, inasmuch is shamed, nonetheless is perceived as holding the seed to the truth of love as a transcendence to the rules. 9.5 - The more famed of folk-lore on the subject of a loving extra-marital affair is that of the Arthurian Legend, viz. involving Sir Lancelot and Queen Guinevere, possibly most celebrated by the 12th-century Old French poem by Chrétien de Troyes: 9.6 - Lancelot, The Knight Of The Cart / French: Lancelot, Le Chevalier De La Charrette; re-published as: Lancelot, Or, The knight Of The Cart, circa 1990, translated by Ruth Harwood Cline, Athens: University of Georgia Press, xxxiv, 231 pages, ISBN 0820312126, ISBN 0820312134—from which judgment is often cast against the maiden for her loose morals, though the mediæval revivalist William Morris wrote the poem: 9.7 - The Defence Of Guinevere, circa 1858—refer to the John Lane publication, circa 1904, 54 pages, illustrated by Jessie M.King; 9.8 - Re-published: 14 February 2006, Obscure Press, English Language, 252 pages, ISBN-10: 1846644321, ISBN-13: 9781846644320. 9.9 - Yet references to children born of passionate love are scarcely found among literature; hence, there is no description of a child born out of true love, such as imaginably would have occurred in the Arthurian Legend: no child born from the parents of such courtly, passionate, Romance. 9.10 - Such texts weave the subjects of desire and love around couples in an almost delicate way to avoid "the complication" of a new-born. 9.11 - The genre of English romantic literature arguably begins with the 18th century epistolary novel: 9.12 - Pamela; Or, Virtue Rewarded, circa 1740, by Samuel Richardson; re-published: circa 1981, Penguin Classics, 544 pages, ISBN-10: 0140431403, ISBN-13: 9780140431407—through to the romantically iconic: 9.13 - Sense And Sensibility, circa 1811, by Jane Austen; re-published 07 December 2023, Thomas Nelson Publishers, Harper Muse Australia, 432 pages, ISBN: 9781400339686, ISBN-10: 1400339685, and the historical romance: 9.14 - The Black Moth, circa 1921, by Georgette Heyer—26 August 2021, Cornerstone, William Heinemann Ltd., 336 pages, ISBN: 9781785152399—through to the later mass-market: 9.15 - Romance literature of Mills And Boon of Harlequin Enterprises ULC, such as: 9.16 - Song In The Night, circa September 1984, first edition, Silhouette Special Edition 188, Mills And Boon, paper-back, ISBN: 0671536885, ISBN13: 9780671536886. 9.17 - The further, contemporary allusion of the noun: 'love-child' is to the notion of the conception of a child born outside of wed-lock being a "mistake" of judgment, that is often attributed to the clouding stirred by fallible passion; that is typically an error placed upon the mother, her being the bearer of the infant, such that the unborn child is organised to be medically aborted to prevent the child's birth. 9.18 - The allusion to the 'love-child' is ironically applied in this context because of the demands to abort the child made from the surrounding family or community of the involved couple—when the unborn child has then become a child of shame and is thus unwanted and unpaid for, often forced in to the "accursed" life within institutional care, because the child is given up to adoption where abuses are known to occur. 9.19 - Refer to the Australian drama-genre, television series titled: 9.20 - Love Child, 17 February 2014 – 4 July 2017, 48 minutes, 36 episodes, by Sarah Lambert, Channel 9, that portrays the lives of staff and residents of the fictional Kings Cross Hospital and Stanton House in Sydney, circa 1969 and continuing into the 1970s, based on the true history of forced adoption within Australia at that time, for which former Prime Minister Julia Gillard offered a national apology to who was affected, circa 2013. 9.21 - Further, there is the film: 9.22 - Love Child, 15 October 1982, 96 minutes, directed by Larry Peerce, written by Anne Gerard and Katherine Specktor, by The Ladd Company; 9.23 - Based on the life of Terry-Jean Moore, in which the female protagonist, while she serves a conviction sentence, fights to keep her love-child who is conceived with one of the prison guards.
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10.0 - THE NATIVITY OF THE BABY JESUS CHRIST—Refer to Points 10.0–10.11.
10.1 - Jesus Christ of the Nativity is symbolic of the new born: a soul brought from Heaven to the Earthly plane who is of the great gift of God to human-kind: God's gift, the gift of life. 10.2 - With the birth of Jesus Christ there is the greatest cause for rejoicing; for the birth of Jesus Christ is the promise of the Messiah fulfilled: Jesus Christ, the only son of God, brought to earth to give the world wisdom. 10.3 - For it is in wisdom that true wealth is accrued and true wisdom holds that life is verily precious, above all else in value, and a child, even with imperfections is valuable as one of God's own children, with soul and spirit worthy of the deepest respect. 10.4 - Some people will argue love is a delusion; that the reality is, there is only cruelty, pain and suffering. 10.5 - Love is full of pain and suffering, yet love exists—love is pleasurable too; too complex to reduce to only sensations. 10.6 - Through God's love there is a higher path to travel and that is made manifest through Jesus Christ. 10.7 - I have written in my previous blog of an artificial apocalypse—an apocalypse that was intended to end all anticipations of an apocalypse—but it was far from The Second Coming of Jesus Christ as of The Book of Revelation, that remains yet fulfilled. 10.8 - 'I, Jesus, have sent my angel to testify to you about these things for the churches'—from: Revelation 22:16, English Standard Version. 10.9 - If only change that brought pain and suffering could be prevented; if only changelings who supposedly bring change could be banished once and for all. 10.10 - 'If a man dies, shall he live again? All the days of my service I would wait, till my change should come'—from: Job 14:14, English Standard Version. 10.11 - If some-one could change oneself and be the change that he or she prays to witness in the world, then, it is a matter of imitating Jesus Christ.
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11.0 - A BRIEF AFTER-WORD—Refer to Points 11.0–11.11.
11.1 - I wrote almost the exact same blog as this blog five years ago and it was removed from my Google Blogger account, unlawfully, and the storage device with the data was confiscated by the Brisbane City Police of Queensland, Australia. 11.2 - Much of my research and writing—I write much greater than these blogs—stored on my data storage devices, is taken with other items by police. 11.3 - Due to identity theft, I fight for my identity, that is, while I am sick with multiple cancers and only extended half-hearted care. 11.4 - Money is owed to myself, but the people who owe myself payments state: "why re-pay him if I do not have to?" 11.5 - Forced out of Sydney and Brisbane universities for being physically sick, I am almost ostracised as though I am once again: "the changeling among the witches"—or whatever they are. 11.6 - I suspect that the people who I have alluded to in these blogs are those same people involved in proto-typic Satanic forms of sect congregation—cults with shared delusion are not harmless fantasies, because they have often dire consequences, as these blogs indicate. 11.7 - Certainly, they have been involved in 'The Church of Scientology': that cult that removed the dark scriptures' allusions to Satan (at some point Vulcan became Satan and both are interchangeable), such that Satanic Ritual Abuse became "Ritual Abuse". 11.8 - Their power is based on enslavement; and slavery—whether defined as volunteer work or work done as a matter of family ties—is against Australian and international law, such as stated in the: 11.9 - Modern Slavery Act 2018, Number 153, of Australia, and: 11.10 - The International Covenant On Civil And Political Rights, circa 1966. 11.11 - How law and order can be metéd out in such an intermixture of law and lore; culture and sub-culture; corruption and "corruption"; could be the sixty-four million dollar question.
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