Lass Suicide

Lass Suicide

Many of these mass suicides happen for different reasons, and as such, they provide valuable insights into the collective and individual psyche of human beings.

Heaven's Gate mass suicide happened in March 1997, in Rancho Santa Fe, San Diego.
The abbreviation of MRTCG suicide stands for
The Adam Family suicide is actually about the family from Bangladesh, who were an anti-Islamic group founded by Abdul Adam.

Antonia Čirjak March 16 2020 in Society

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Sometimes, mass suicides are religious, and they can be a way out from this world, a transition to a better place. Other times, they can be a political statement, an answer against repression. Many of these mass suicides happen for different reasons, and as such, they provide valuable insights into the collective and individual psyche of human beings.
More than 50 died in the Souli region, near the village of Zalongo (today's Greece) in 1803, after Ali Pasha broke a peace treaty with the Souliots, killing and enslaving its citizens in the process.
As a response to life in captivity, around 50 women (together with their children) performed a ritualistic suicide, dancing and jumping off the cliff .
The year was 1802, and slavery was close to being reestablished in Guadeloupe. With Louis Delgrès leading the slaves of Guadeloupe, they waited for Napoleon's army to come close enough to ignite the gun powder in their vicinity, resulting in a giant explosion that killed both the slaves and the French.
Several hundred people died at the Battle of Matouba, along with some of the French soldiers. Louis Delgrès became a symbol of the antislavery revolution.
Puputan (a Balinese word for mass suicide) suicides happened throughout the 1900s, in Bali, Indonesia. The most noteworthy case of puputan suicides occurred on September 20, 1906. It was during that time that the Balinese forces had to surrender to the Dutch army but instead decided to march to Denpasar and started performing suicides by stabbing. Around 250 citizens died that day.
Jauhar is an act of suicide performed by women for political or religious reasons. To avoid war crimes such as enslavement and rape, they were forced to commit suicide, sometimes even taking their children with them.
These mass suicides happened all over the Indian subcontinent, and the most famous ones are those during the wars in Rajasthan, in 1303, 1535, and 1568 CE.
No, not the Adams Family, it is the other satanic family from Bangladesh, founded by Abdul Adam. This family was an anti-Islamic group, known for a mass suicide committed by jumping under an express train in 2007. They left several diaries in their house, believed to be their suicide notes. They were also known for performing underground satanic rituals .
During the last days of the Battle of Saipan, thousands of Japanese people committed suicides under the order of General Saito. The controversial general promised a spiritual status, similar to those of the soldiers who died in World War 2.
These mass suicides also happened in other Japanese cities, such as Okinawa, but the most notorious location is the "Suicide Cliff" in Saipan.
Also, know as the Jonestown massacre, this one is hard to define as only a mass suicide. Several members were shot trying to leave Jonestown, and some believe this incident was mass murder. The Peoples Temple community was established in the 1970s and was led by Jim Jones, who ordered its members to drink cyanide-laced punch.
People's Temple was also known for various financial frauds and child abuse . It is estimated that there were more than 900 people that died that day, making the Jonestown massacre the most significant modern mass suicide.
This abbreviation stands for "The Movement For The Restoration Of The Ten Commandments Of God," a doomsday cult from Uganda, that believed the world was coming to its end with the beginning of the millennium. Initially, this was thought to be a mass suicide, but soon after, it was revealed to be a mass murder.
The members of this cult were known to take vows of silence, using sign language to communicate. They also fasted regularly, were forbidden to have sexual intercourse, as well as use soap! Their lives ended in 2000 after they were all involved in a series of fires and poisonings.
Similar to the mass suicide of Heaven's Gate, the followers of Order of the Solar Temple were also led to believe that they would leave this world for a better place. Their leader, Joseph Di Mambro was one notorious fellow.
He was the culprit behind several murders, one of which was the murder of a 3-month-old infant. The members of this cult performed ritualistic suicides, and a total of 74 dead bodies were found in various European countries.
This mass suicide happened in Rancho Santa Fe, San Diego, in March 1997. The police found 39 bodies, with matching clothes, Nike sneakers, and plastic bags tied around their heads. They all drank lethal doses of poisonous apple sauce, and they were all members of a cult called "Heaven's Gate."
The cult founder Marshall Applewhite claimed that leaving this world would grant them access to an alien spacecraft and a trip to a new kingdom.
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Check out the video from the shoot here: www.youtube.com/watch?v=w8Tzvej-x3k
Check out the video from the shoot here: www.youtube.com/watch?v=w8Tzvej-x3k
The libretto of Tannhäuser combines mythological elements characteristic of German Romantische Oper (Romantic opera) and the medieval setting typical of many French Grand Operas. Wagner brings these two together by constructing a plot involving the 14th-century Minnesingers and the myth of Venus and her subterranean realm of Venusberg. Both the historical and the mythological are united in Tannhäuser's personality; although he is a historical poet composer, little is known about him other than myths that surround him.
Wagner wove a variety of sources into the opera narrative. According to his autobiography, he was inspired by finding the story in "a Volksbuch (popular book) about the Venusberg", which he claimed "fell into his hands", although he admits knowing of the story from the Phantasus of Ludwig Tieck and E. T. A. Hoffmann's story, Der Kampf der Sänger (The Singers' Contest). Tieck's tale, which names the hero "Tannenhäuser", tells of the minnesinger-knight's amorous adventures in the Venusberg, his travels to Rome as a Pilgrim, and his repudiation by the pope. To this Wagner added material from Hoffmann's story, from Serapions-Brüder (1819), describing a song contest at the Wartburg castle,[1] a castle which featured prominently in Thuringian history. Heinrich Heine had provided Wagner with the inspiration for Der fliegende Holländer and Wagner again drew on Heine for Tannhäuser. In Heine's sardonic essay Elementargeister (Elemental spirits), there appears a poem about Tannhäuser and the lure of the grotto of Venus, published in 1837 in the third volume of Der Salon.[1] Other possible sources include Friedrich de la Motte Fouqué's play Der Sängerkrieg auf der Wartburg and Eichendorff's Das Marmorbild (The Marble Statue, 1819).[1][2]
The legend of Tannhäuser, the amorous crusading Franconian knight, and that of the song contest on the Wartburg (which did not involve Tannhäuser, but the semi-mythical minnesinger Heinrich von Ofterdingen), came from quite separate traditions. Ludwig Bechstein wove together the two legends in the first volume of his collection of Thuringian legends, Der Sagenschatz und die Sagenkreise des Thüringerlandes (A treasury of the tales of Thuringian legends and legend cycles, 1835), which was probably the Volksbuch to which Wagner refers to in his autobiography.[3][1] Wagner also knew of the work of another contemporary, Christian Theodor Ludwig Lucas, whose Über den Krieg von Wartburg of 1838 also conflated the two legends.[4][5] This confusion (which explains why Tannhäuser is referred to as 'Heinrich' in the opera) does not fit with the historical timeline of the events in the opera, since the Singers' Contest involving von Ofterdingen is said to have taken place around 1207, while Tannhäuser's poetry appeared much later (1245–1265). The sources used by Wagner therefore reflected a nineteenth century romantic view of the medieval period, with concerns about artistic freedom and the constraints of organised religion typical of the period of Romanticism.[6]
During Wagner's first stay in Paris (1839–1842) he read a paper by Ludwig Lucas on the Sängerkrieg which sparked his imagination, and encouraged him to return to Germany, which he reached on 7 April 1842.[7] Having crossed the Rhine, the Wagners drove towards Thuringia, and saw the early rays of sun striking the Wartburg; Wagner immediately began to sketch the scenery that would become the stage sets.[8] Wagner wrote the prose draft of Tannhäuser between June and July 1842 and the libretto in April 1843.[9]
Neuschwanstein Castle (German: Schloss Neuschwanstein, pronounced [ˈʃlɔs nɔʏˈʃvaːnʃtaɪn], Southern Bavarian: Schloss Neischwanstoa) is a 19th-century Romanesque Revival palace on a rugged hill above the village of Hohenschwangau near Füssen in southwest Bavaria, Germany. The palace was commissioned by King Ludwig II of Bavaria as a retreat and in honour of Richard Wagner. Ludwig paid for the palace out of his personal fortune and by means of extensive borrowing, rather than Bavarian public funds.
The castle was intended as a home for the King, until he died in 1886. It was open to the public shortly after his death.[1] Since then more than 61 million people have visited Neuschwanstein Castle.[2] More than 1.3 million people visit annually, with as many as 6,000 per day in the summer.[3]
A northward view of Neuschwanstein Castle from Mount Säuling (2,047 m or 6,716 ft) on the border between Bavaria and Tyrol: Schwangau between large Forggensee reservoir (1952) and Hohenschwangau and Neuschwanstein palaces
The municipality of Schwangau lies at an elevation of 800 m (2,620 ft) at the southwest border of the German state of Bavaria. Its surroundings are characterised by the transition between the Alpine foothills in the south (toward the nearby Austrian border) and a hilly landscape in the north that appears flat by comparison.
In the Middle Ages, three castles overlooked the villages. One was called Schwanstein Castle.[nb 1] In 1832, Ludwig's father King Maximilian II of Bavaria bought its ruins to replace them with the comfortable neo-Gothic palace known as Hohenschwangau Castle. Finished in 1837, the palace became his family's summer residence, and his elder son Ludwig (born 1845) spent a large part of his childhood here.[4]
Vorderhohenschwangau Castle and Hinterhohenschwangau Castle[nb 2] sat on a rugged hill overlooking Schwanstein Castle, two nearby lakes (Alpsee and Schwansee), and the village. Separated by only a moat, they jointly consisted of a hall, a keep, and a fortified tower house.[5] In the nineteenth century only ruins remained of the twin medieval castles, but those of Hinterhohenschwangau served as a lookout place known as Sylphenturm.[6]
The ruins above the family palace were known to the crown prince from his excursions. He first sketched one of them in his diary in 1859.[7] When the young king came to power in 1864, the construction of a new palace in place of the two ruined castles became the first in his series of palace building projects.[8] Ludwig called the new palace New Hohenschwangau Castle; only after his death was it renamed Neuschwanstein.[9] The confusing result is that Hohenschwangau and Schwanstein have effectively swapped names: Hohenschwangau Castle replaced the ruins of Schwanstein Castle, and Neuschwanstein Castle replaced the ruins of the two Hohenschwangau Castles.
Neuschwanstein embodies both the contemporaneous architectural fashion known as castle romanticism (German: Burgenromantik), and King Ludwig II's enthusiasm for the operas of Richard Wagner.
In the 19th century, many castles were constructed or reconstructed, often with significant changes to make them more picturesque. Palace-building projects similar to Neuschwanstein had been undertaken earlier in several of the German states and included Hohenschwangau Castle, Lichtenstein Castle, Hohenzollern Castle, and numerous buildings on the River Rhine such as Stolzenfels Castle.[10] The inspiration for the construction of Neuschwanstein came from two journeys in 1867—one in May to the reconstructed Wartburg near Eisenach,[11] another in July to the Château de Pierrefonds, which Eugène Viollet-le-Duc was transforming from a ruined castle into a historistic palace.[12][nb 3]
Neuschwanstein project drawing (Christian Jank 1869)
The King saw both buildings as representatives of a romantic interpretation of the Middle Ages, as well as the musical mythology of his friend Wagner, whose operas Tannhäuser and Lohengrin had made a lasting impression on him.[13]
In February 1868, Ludwig's grandfather King Ludwig I died, freeing the considerable sums that were previously spent on the abdicated King's appanage.[8][nb 4] This allowed Ludwig II to start the architectural project of building a private refuge in the familiar landscape far from the capital Munich, so that he could live out his idea of the Middle Ages.
It is my intention to rebuild the old castle ruin of Hohenschwangau near the Pöllat Gorge in the authentic style of the old German knights' castles, and I must confess to you that I am looking forward very much to living there one day [...]; you know the revered guest I would like to accommodate there; the location is one of the most beautiful to be found, holy and unapproachable, a worthy temple for the divine friend who has brought salvation and true blessing to the world. It will also remind you of "Tannhäuser" (Singers' Hall with a view of the castle in the background), "Lohengrin'" (castle courtyard, open corridor, path to the chapel) ...
— Ludwig II, Letter to Richard Wagner, May 1868[14]
The building design was drafted by the stage designer Christian Jank and realised by the architect Eduard Riedel.[15] For technical reasons, the ruined castles could not be integrated into the plan. Initial ideas for the palace drew stylistically on Nuremberg Castle and envisaged a simple building in place of the old Vorderhohenschwangau Castle, but they were rejected and replaced by increasingly extensive drafts, culminating in a bigger palace modelled on the Wartburg.[16] The king insisted on a detailed plan and on personal approval of each and every draft.[17] Ludwig's control went so far that the palace has been regarded as his own creation, rather than that of the architects involved.[18]
Whereas contemporary architecture critics derided Neuschwanstein, one of the last big palace building projects of the nineteenth century, as kitsch, Neuschwanstein and Ludwig II's other buildings are now counted among the major works of European historicism.[19][20] For financial reasons, a project similar to Neuschwanstein – Falkenstein Castle – never left the planning stages.[21]
The palace can be regarded as typical for nineteenth-century architecture. The shapes of Romanesque (simple geometric figures such as cuboids and semicircular arches), Gothic (upward-pointing lines, slim towers, delicate embellishments) and Byzantine architecture and art (the Throne Hall décor) were mingled in an eclectic fashion and supplemented with 19th-century technical achievements. The Patrona Bavariae and Saint George on the court face of the Palas (main building) are depicted in the local Lüftlmalerei style, a fresco technique typical for Allgäu farmers' houses, while the unimplemented drafts for the Knights' House gallery foreshadow elements of Art Nouveau.[22] Characteristic of Neuschwanstein's design are theatre themes: Christ
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