# data[].attributes.body
An outlaw, in its original and legal meaning, is a person declared as outside the protection of the law. In pre-modern societies, all legal protection was withdrawn from the criminal, so that anyone was legally empowered to persecute or kill them. Outlawry was thus one of the harshest penalties in the legal system. In early Germanic law, the death penalty is conspicuously absent, and outlawing is the most extreme punishment, presumably amounting to a death sentence in practice. The concept is known from Roman law, as the status of homo sacer, and persisted throughout the Middle Ages.

A secondary meaning of outlaw is a person who systematically avoids capture by evasion and violence. These meanings are related and overlapping but not necessarily identical. A fugitive who is declared outside protection of law in one jurisdiction but who receives asylum and lives openly and obedient to local laws in another jurisdiction is an outlaw in the first meaning but not the second (example: William John Bankes, detailed below). A fugitive who remains formally entitled to a form of trial if captured alive, but avoids capture because of high risk of conviction and severe punishment if tried, is an outlaw in the second sense but not the first (example: Sándor Rózsa, tried and sentenced merely to a term of imprisonment when captured).

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I think a fugitive is the same as a criminal. In most cases, criminals usually break the law and are heinous sinners. In the criminal community, I think of one type of criminal. They are often highly intelligent, antisocial and indifferent to emotions. Therefore, I want to explore and study this kind of "intelligent criminals" as a specific topic.

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Dahmer – Monster: The Jeffrey Dahmer Story. (2022). [series]. created by Ryan Murphy and Ian Brennan. United States:
Netflix
Prospect Films
Ryan Murphy Productions

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Unit 1 brief:

During this brief we will be working with

puppetry, one of the oldest forms of

storytelling. We will be looking at

character archetypes shared by people across time and culture.

You will be creating a puppet to accompany you in the next phase of your life.

This puppet must be based on one of the following storytelling character archetypes:

The Everyman

The Explorer

The Jester

The Magician

The Outlaw

Your final puppet can be fantastical or realistic, and be any shape or size.This puppet needs to communicate visually

the key values and ideas connected to it. How can you utilise elements such as physicality, size, colour, and materials to do so?

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Your writing should sound like you. It should have your voice in it.
• Reflective writing is a place for asking questions of yourself and your work. Not knowing is part of the creative process and is okay.
• If you are finding it boring to write, stop and try a different way of doing it. It can't be helping you to think and develop your work if you are bored
• Do your reflective writing at a time that suits you.
• We recommend doing some at the end of each studio day but do it at a time that's good for you.
• Voice typing can be a really good way to get your thoughts down.
• Most phones have this function.

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Reflective Writing Prompts... Looking at your puppet...

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Reflective Writing Prompts... Looking at your puppet...

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1.DESCRIBE it. What is it? What is it made of? What does it look like?
Colour/size/material/shape?
2.Now ANALYSE it. What is the most important / interesting / useful/ relevant thing to tell us about it? What is its purpose or function for you? Why did you choose to make it this way?
(Think about its RELEVANCE or IMPORTANCE to you) What is significant about it? Are there any stories behind it that you might want to share?
3.FINALLY can you EVALUATE it (where does it fit in?) Think about its WIDER CONTEXT: What have you learnt about yourself from choosing / observing it? Can you connect it to other ideas / objects/ things you have read or seen or that interest you? How might it lead to further work/ research?

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Academic Support tutors help you develop skills needed for planning, research, reading, writing, organising, presenting and referencing...
Our team works across CCW, and we might be practicing artists and/or academics, or have a design background. We have experience of studying on an art or design degree.
- 19
SUPPORT
NOVICE
GUIDANCE ASSISTANCE
We're here to help with:
• Writing for your Unit projects including... Reflective, academic and creative writing
• Research skills, self evaluations and critical thinking
• Bibliographies and referencing
• Making presentations

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This work inspired me a lot. So I can make them blend more naturally.

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This is a description of my development. My message is that many criminals are highly intelligent. They have very smart brains. So the main body of it is the brain. And then its limbs are made up of nerves. I want to highlight the intelligence of this "criminal".

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When I was researching how to better combine nerves and tentacles, I saw this piece. This reminds me of Cthulhuism.

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some patterns

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Julia Lillard is a mysterious surrealist artist with little information. According to limited interviews and self-reports, she is self-taught and currently lives in Oklaho, USA. Julia Lillard's works include digital art, collage, photography, etc., with extremely rich themes. She uses her unrestrained creativity to combine Western mythology, industrial age, technology, nature, oriental gardens, Japanese Ukiyo-e, etc. Connected elements meld together to form a surreal style of its own—something witty, ironic, and eye-catching.

Julia Lillard was born in an industrial city dominated by oil and gas, and her vivid imagination was always at odds with the barren living environment, although life
Plain but Julia Lillard has always been full of desire for art in her heart - "For me, it is always easier to communicate with images than with words". At the same time, travel is also a rare source of creativity for Julia Lillard, allowing her to find a gap in her step-by-step life to escape and find her own meaning.

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Annie Colinge is a photography artist from the UK. She often uses dolls, puppets, toys, paper-cuts and other props to explore the contrast between real and fake in her works.
A large part of her creative process is collecting objects, even picking up other people's discarded waste.
Her works present an exaggerated and mysterious style, which is intriguing.

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https://en.m.wikipedia.org/wiki/Cthulhu_Mythos

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The Cthulhu Mythos is a mythopoeia and a shared fictional universe, originating in the works of American horror writer H. P. Lovecraft. The term was coined by August Derleth, a contemporary correspondent and protégé of Lovecraft, to identify the settings, tropes, and lore that were employed by Lovecraft and his literary successors. The name " Cthulhu" derives from the central creature in Lovecraft's seminal short story " The Call of Cthulhu", first published in the pulp magazine Weird Tales in 1928.[1]

Richard L. Tierney, a writer who also wrote Mythos tales, later applied the term "Derleth Mythos" to distinguish Lovecraft's works from Derleth's later stories, which modify key tenets of the Mythos.[2][3] Authors of Lovecraftian horror in particular frequently use elements of the Cthulhu Mythos.[4]: viii-ix

In his essay "H. P. Lovecraft and the Cthulhu Mythos", Robert M. Price described two stages in the development of the Cthulhu Mythos. Price called the first stage the "Cthulhu Mythos proper". This stage was formulated during Lovecraft's lifetime and was subject to his guidance. The second stage was guided by August Derleth who, in addition to publishing Lovecraft's stories after his death, attempted to categorize and expand the Mythos.[5]: 8  [6]: 5

First stage Edit

An ongoing theme in Lovecraft's work is the complete irrelevance of mankind in the face of the cosmic horrors that apparently exist in the universe. Lovecraft made frequent references to the " Great Old Ones", a loose pantheon of ancient, powerful deities from space who once ruled the Earth and have since fallen into a deathlike sleep.[4]: viii  While these monstrous deities were present in almost all of Lovecraft's published work (his second short story " Dagon", published in 1919, is considered the start of the Mythos), the first story to really expand the pantheon of Great Old Ones and its themes is " The Call of Cthulhu", which was published in 1928.

Lovecraft broke with other pulp writers of the time by having his main characters' minds deteriorate when afforded a glimpse of what exists outside their perceived reality. He emphasized the point by stating in the opening sentence of the story that "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents."[7]

Writer Dirk W. Mosig noted that Lovecraft was a "mechanistic materialist" who embraced the philosophy of cosmic indifferentism and believed in a purposeless, mechanical, and uncaring universe. Human beings, with their limited faculties, can never fully understand this universe, and the cognitive dissonance caused by this revelation leads to insanity, in his view.[8][9]

There have been attempts at categorizing this fictional group of beings. Phillip A. Schreffler argues that by carefully scrutinizing Lovecraft's writings, a workable framework emerges that outlines the entire "pantheon"-from the unreachable "Outer Ones" (e.g., Azathoth, who occupies the centre of the universe) and "Great Old Ones" (e.g., Cthulhu, imprisoned on Earth in the sunken city of R'lyeh) to the lesser castes (the lowly slave shoggoths and the Mi-Go).[10]

David E. Schultz said Lovecraft never meant to create a canonical Mythos but rather intended his imaginary pantheon to serve merely as a background element.[11]: 46, 54  Lovecraft himself humorously referred to his Mythos as "Yog Sothothery" (Dirk W. Mosig coincidentally suggested the term Yog-Sothoth Cycle of Myth be substituted for Cthulhu Mythos).[12][13] At times, Lovecraft even had to remind his readers that his Mythos creations were entirely fictional.[9]: 33-34

The view that there was no rigid structure is expounded upon by S. T. Joshi, who said

Lovecraft's imaginary cosmogony was never a static system but rather a sort of aesthetic construct that remained ever adaptable to its creator's developing personality and altering interests.... There was never a rigid system that might be posthumously appropriated..... The essence of the mythos lies not in a pantheon of imaginary deities nor in a cobwebby collection of forgotten tomes, but rather in a certain convincing cosmic attitude.[14]

Price said Lovecraft's writings could at least be divided into categories and identified three distinct themes: the "Dunsanian" (written in a similar style as Lord Dunsany), " Arkham" (occurring in Lovecraft's fictionalized New England setting), and "Cthulhu" (the cosmic tales) cycles.[6]: 9  Writer Will Murray noted that while Lovecraft often used his fictional pantheon in the stories he ghostwrote for other authors, he reserved Arkham and its environs exclusively for those tales he wrote under his own name.[15]

Although the Mythos was not formalized or acknowledged between them, Lovecraft did correspond and share story elements with other contemporary writers including Clark Ashton Smith, Robert E. Howard, Robert Bloch, Frank Belknap Long, Henry Kuttner, Henry S. Whitehead, and Fritz Leiber-a group referred to as the "Lovecraft Circle."[16][page needed ][17][page needed ]

For example, Robert E. Howard's character Friedrich Von Junzt reads Lovecraft's Necronomicon in the short story "The Children of the Night" (1931), and in turn Lovecraft mentions Howard's Unaussprechlichen Kulten in the stories "Out of the Aeons" ( 1935) and "The Shadow Out of Time" ( 1936).[6]: 6-7  Many of Howard's original unedited Conan stories also involve parts of the Cthulhu Mythos.[18]

Second stage Edit

Price denotes the second stage's commencement with August Derleth, with the principal difference between Lovecraft and Derleth being Derleth's use of hope and development of the idea that the Cthulhu Mythos essentially represented a struggle between good and evil.[5]: 9  Derleth is credited with creating the "Elder Gods". He stated:

As Lovecraft conceived the deities or forces of his mythos, there were, initially, the Elder Gods.... These Elder Gods were benign deities, representing the forces of good, and existed peacefully...very rarely stirring forth to intervene in the unceasing struggle between the powers of evil and the races of Earth. These powers of evil were variously known as the Great Old Ones or the Ancient Ones....[19]

Price said the basis for Derleth's system is found in Lovecraft: "Was Derleth's use of the rubric 'Elder Gods' so alien to Lovecraft's in At the Mountains of Madness? Perhaps not. In fact, this very story, along with some hints from "The Shadow over Innsmouth", provides the key to the origin of the 'Derleth Mythos'. For in At the Mountains of Madness is shown the history of a conflict between interstellar races, first among them the Elder Ones and the Cthulhu-spawn.[20]

Derleth said Lovecraft wished for other authors to actively write about the Mythos as opposed to it being a discrete plot device within Lovecraft's own stories.[11]: 46-47  Derleth expanded the boundaries of the Mythos by including any passing reference to another author's story elements by Lovecraft as part of the genre. Just as Lovecraft made passing reference to Clark Ashton Smith's Book of Eibon, Derleth in turn added Smith's Ubbo-Sathla to the Mythos.[6]: 9-10

Derleth also attempted to connect the deities of the Mythos to the four elements (air, earth, fire, and water), creating new beings representative of certain elements in order to legitimize his system of classification. He created "Cthugha" as a sort of fire elemental when a fan, Francis Towner Laney, complained that he had neglected to include the element in his schema. Laney, the editor of The Acolyte, had categorized the Mythos in an essay that first appeared in the Winter 1942 issue of the magazine.

Impressed by the glossary, Derleth asked Laney to rewrite it for publication in the Arkham House collection Beyond the Wall of Sleep (1943).[21] Laney's essay ("The Cthulhu Mythos") was later republished in Crypt of Cthulhu #32 (1985). In applying the elemental theory to beings that function on a cosmic scale (e.g., Yog-Sothoth) some authors created a fifth element that they termed aethyr.[citation needed ]

A number of fictional cults appear in the Cthulhu Mythos, the loosely connected series of horror stories written by Lovecraft and other writers inspired by his creations. Many of these cults serve the Outer God Nyarlathotep, the Crawling Chaos, a protean creature that appears in myriad guises. Other cults are dedicated to the cause of the Great Old Ones, a group of powerful alien beings currently imprisoned or otherwise resting in a deathlike sleep.[citation needed ]

1. ^ Lovecraft, H.P. (2005). Tales (2nd ed.). New York: Library of America. ISBN 1931082723. OCLC 56068806.

2. ^ Price, Robert M. (November 1, 1982). "Cthulhu Elsewhere in Lovecraft". Crypt of Cthulhu. No. 9. pp. 13-15. ISSN 1077-8179.

3. ^ Schweitzer, Darrell (2001). Discovering H. P. Lovecraft (revised ed.). Holicong, PA: Wildside Press. p. 52. ISBN 978-1587154713.

4. Harms, Daniel (1998). The Encyclopedia Cthulhiana (2nd ed.). Oakland, CA: Chaosium, Inc. ISBN 978-1568821191.

5. Lovecraft, H.P.; Bloch, Robert (1987). The Best of H. P. Lovecraft: Bloodcurdling Tales of Horror and the Macabre (1st ed.). New York: Ballantine Publishing Group. ISBN 0345350804.

6. ^

7. ^ Mosig, Yozan Dirk W. (1979). Gary William Crawford (ed.). Lovecraft: The Dissonance Factor in Imaginative Literature. Gothic Press.

8. ^ "Yog-Sothothery". Timpratt.org.

9. ^ Joshi, S. T. (1995). Miscellaneous Writings (1st ed.). Sauk City, WI: Arkham House. pp. 165-166. ISBN 978-0870541681.

10. ^ Van Hise, James (1999). The Fantastic Worlds of H. P. Lovecraft (1st ed.). Yucca Valley, CA: James Van Hise. pp. 105-107.[ISBN missing ]

11. ^ Joshi, S.T. (1980). H.P. Lovecraft: Four Decades of Criticism. Athens, OH: Ohio University Press. ISBN 978-0821405772.

12. ^ Howard, Robert E.; Schultz, Mark (2003). The Coming of Conan the Cimmerian (1st ed.). New York: Del Rey/Ballantine Books. p. 436. ISBN 0345461517.

13. ^ Derleth, August (1997). The Cthulhu Mythos. New York: Barnes & Noble Books. p. vii. ISBN 0760702535.

14. ^ Price, Robert M. (June 23, 1982). "The Lovecraft-Derleth Connection". Crypt of Cthulhu. No. 6. pp. 3-8. ISSN 1077-8179. Archived from the original on February 17, 2013.

15. ^ Price, Robert M. (June 23, 1985). "Editorial Shards". Crypt of Cthulhu. No. 32. p. 2. ISSN 1077-8179.

Bloch, Robert (1978). Strange Eons. Whispers Press. ISBN 0918372291.

Burleson, Donald R. (1979). "The Lovecraft Mythos". In Magill, Frank N. (ed.). Survey of Science Fiction Literature. Vol. 3. Englewood Cliffs, NJ: Salem Press. pp. 1284-1288. ISBN 978-0-89356-197-0.

Carter, Lin (1972). Lovecraft: A Look Behind the Cthulhu Mythos. New York: Ballantine Books. ISBN 0-345-02427-3.

August, Derleth (August 1, 1996) [1937]. "H.P. Lovecraft-Outsider". Crypt of Cthulhu. No. 3. pp. 16-18. ISSN 1077-8179.

Dziemianowicz, Stefan (March 19, 1992). "Divers Hands". Crypt of Cthulhu. No. 80. pp. 38-52. ISSN 1077-8179.

Dziemianowicz, Stefan. "The Cthulhu Mythos: Chronicle of a Controversy". In The Lovecraft Society of New England (ed) Necronomicon: The Cthulhu Mythos Convention 1993 (convention book). Boston: NecronomiCon, 1993, pp. 25-31

Jens, Tina, ed. (1999). Cthulhu and the Coeds: Kids and Squids. Chicago: Twilight Tales.

Joshi, S.T. (1982). H. P. Lovecraft (1st ed.). Mercer Island, WA: Starmont House. ISBN 978-0-916732-36-3.

Lovecraft, Howard P. (1999) [1928]. "The Call of Cthulhu". In S.T. Joshi (ed.). The Call of Cthulhu and Other Weird Stories. London / New York: Penguin Books. Archived from the original on December 14, 2007.

Price, Robert M. (1996). "Introduction". In Robert M. Price (ed.). The New Lovecraft Circle. New York: Random House, Inc. ISBN 978-0-345-44406-6.

Price, Robert M. (1991). "Lovecraft's 'Artificial Mythology'". In Schultz, David E.; Joshi, S.T. (eds.). An Epicure in the Terrible: a centennial anthology of essays in honor of H. P. Lovecraft. Rutherford, NJ / Cranbury, NJ: Fairleigh Dickinson University Press / Associated University Presses. ISBN 978-0-8386-3415-8.

Turner, James (1998). "Iä! Iä! Cthulhu Fhtagn!". Tales of the Cthulhu Mythos (1st ed.). Random House. ISBN 978-0-345-42204-0.

Thomas, Frank Walter (2005). Watchers of the Light (1st printing ed.). Lake Forest Park, WA: Lake Forest Park Books. ISBN 978-0-9774464-0-7.

# data[].attributes.attachment_link.description
The Cthulhu Mythos is a mythopoeia and a shared fictional universe, originating in the works of American horror writer H. P. Lovecraft. The term was coined by August Derleth, a contemporary correspondent and protégé of Lovecraft, to identify the settings, tropes, and lore that were employed by Lovecraft and his literary successors.

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Symbolist master Otino Redon (Odilon Redon, 1840--1916), he and Morodon are the main painters of the non-symbolist painting school in France in the 19th century. Ottino Redon (Bertrand-Jean Redon), a famous French painter, chalk painter, draftsman, and printmaker, is one of the representative figures of the French Symbolist school of painting.
Its painting themes mainly come from the works of symbolist writers and poets Mallarme and others. He believes that painting is mainly the result of imagination, rather than the reproduction of visual impressions. Therefore, he opposed the color light pursuit of Impressionism, and devoted himself to expressing ghosts, ghosts and hallucinations that do not exist in the real world. In the later stage of his works, redon was keen on painting flowers. The reason why he painted flowers was that he saw people from flowers. He said, "Flowers are the same as human faces, and one flower is a mystery", "It is the reflection of the soul." From Redon's pursuit can be seen in this painting. All kinds of flowers are handled in such a harmonious and harmonious way, as if the parts of a symphony and the harmonious and soft tunes issued by various instruments are the same. Therefore, some people call redon" Mystic Color Composer".

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Omar Aqil (2022) POCKO. Available at: https://www.pocko.com/talent/omar-aquil/ (Accessed: 09 May 2023).

Anniecollinge (no date) Annie Collinge. Available at: https://www.anniecollinge.org/ (Accessed: 09 May 2023).

Odilon Redon biography in details (no date) Odilon Redon Biography With All Details. Available at: https://www.odilon-redon.org/biography.html (Accessed: 09 May 2023).