IRIS ICHISHITA: There's so many different ways to try and understand this text. And there are so many different pieces of evidence that point us in these different directions. Is it fan fiction? Is it pirated fiction? Is it pastiche? Is it creative licence, creative liberty? Is it an alternate version? Could it have been Bram Stoker's original version, his director's cut? What are these texts in relationship to each other?
HZ: Well, they are first cousins, I'd say?
IRIS ICHISHITA: Yeah, yeah. If not shadowy twins.
HZ: Maybe it's more like identity theft.
Allusionist 228. Draculae part 2: Surprises in the Vaults transcript
ÁSGEIR JÓNSSON: It is very different from the Dracula that we know. First of all, it is a more political thing. Dracula is discussing socialism and anarchism. And he seems to be preparing a revolution, which in many ways is similar ideas that you would later see with Fascism and Nazism, where he basically says that the powerful should dominate the weaker. And secondly, it is much more graphic. You have a much greater number of female vampires, and you have a much more graphic scenes of sex and violence that Count Dracula is actually taking part in.
Read moreAllusionist 227. Draculae part 1: Enter the Castle transcript
A literary mystery about the novel Dracula came to me via a meme, just as Dracula came to Whitby in a box of soil in a ship. The meme said something like, “Someone translated Dracula into Icelandic, and it took over 100 years for anyone to point out he just made a fanfic rewrite of what he wanted the story to be.”
Read moreAllusionist 199. 199 ideas that I hadn't made into podcasts yet - transcript
This is the 199th episode of the show, and since before this show began, so for nearly a decade, I have been jotting down ideas in two documents - one for short ideas, one for long ideas. There are always more ideas than I have time and ability to make podcasts about, so now the documents are altogether 66 pages long and growing every day. So in this episode, you’re going to hear 199 ideas that I wanted to put into the podcast and haven’t yet.
Read moreAllusionist 175 Eurovision part 2 transcript
DEAN VULETIC: There are lots of economic, cultural and political factors that can decide which language will be most represented in a country's entries, even when it has various national languages.
HZ: Azerbaijan: the only country never to have entered in its national language.
DEAN VULETIC: Correct.
HZ: Could be this year.
DEAN VULETIC: Errrr, I doubt it, because the Azerbaijani government has been very ambitious in Azerbaijan’s Eurovision entries, in using them as a tool of soft power and cultural diplomacy. It has spent a lot of money in getting well-known songwriters and composers from across Europe to produce pop hits that could really win Eurovision. And of course, this means hits in English. And once Azerbaijan did win Eurovision in 2011 and went on to host the most expensive Eurovision ever in Baku. So Eurovision is also popular among dictators as a tool of cultural diplomacy - or as a tool for whitewashing their human rights and democratic records.
Allusionist 174 Eurovision part 1 transcript
The Eurovision Song Contest has given us the international renown of Celine Dion, Måneskin, Dana International, Conchita Wurst and Riverdance; tear-off skirts, nul points, shiny shiny costumes, a band of babushke dancing around an onstage bread oven; not to mention fraught politics, within and between nations. And most importantly for our purposes: linguistic intrigue! So much linguistic intrigue.
Read moreAllusionist 173 Death transcript
EVIE KING: I mean, if I was to google synonyms of ‘dead’ - let's try that. Synonyms, ‘dead’. See what comes up. ‘Deceased.’
HZ: ‘Deceased’ is just Latin for death.
EVIE KING: ‘Late’, ‘lost’, ‘lamented’...
HZ: ‘Lamented’!
EVIE KING: ‘Expired’ - expired! Like a cheese. ‘Departed’. ‘Gone’. ‘No more. ‘Fallen. ‘Slain’. Now you're starting to infer causes of death. ‘Slaughtered’, ‘killed’ - see, it escalates quickly. There’s not much, there's not much is there?
HZ: Which is odd considering how much death there is everywhere for everyone.
EVIE KING: Yeah, you get more, more synonyms for very boring words, don't you, very workaday words. I think basically maybe it comes down to the fact that dead is dead and we all know what that means, universally dead is dead, and there's no getting away from it, there's no escaping it and there's no getting around it. So we just have to face that word and use it. And if we don't feel like saying dead, we'll just go “passed away”.
HZ: Maybe that's the thing: maybe we don't need new vocabulary yet until we've learnt to get comfortable with ‘dead’.
EVIE KING: And then we can start really jazzing it up. Creating fun terms! Like, you know, when you get things like ‘bottomless brunch’ - that kind of thing for ‘dead’. I think we all know we've arrived when we've got a jazzy snazzy word for ‘dead’.
HZ: Something to look forward to.
Read moreAllusionist 168 Debuts transcript
HZ: The work that RFSU does has included, over the past three decades, coming up with new terms, to fill gaps in the vocabulary or provide more options for talking about sex and bodies.
KALLE ROCKLINGER: Sometimes it's to highlight or make something visible that's not been really talked about. Sometimes it's to change norms in society in some ways, and sometimes it's been sort of a really strategic choice for us in our political work to refuse a certain term or way of describing things, to tell another story, so to speak.
Read more