Mania

Mania (pronounced mey-nee-uh or meyn-yuh)

(1) Excessive excitement or enthusiasm; craze; excessive or unreasonable desire; insane passion affecting one or many people; fanaticism.

(2) In psychiatry, the condition manic disorder; a combining form of mania (megalomania); extended to mean “enthusiasm, often of an extreme and transient nature,” for that specified by the initial element; characterized by great excitement and occasionally violent behavior; violent derangement of mind; madness; insanity.

(3) In mythology, the consort of Mantus, Etruscan god of the dead and ruler of the underworld.  Perhaps identified with the tenebrous Mater Larum, she should not be confused with the Greek Maniae, goddess of the dead; In Greek mythology Mania was the personification of insanity.

(4) In popular use, any behavior, practice, cultural phenomenon, product etc enjoying a sudden popularity.

1350–1400: From the Middle English mania (madness), from the Latin mania (insanity, madness), from the Ancient Greek μανία (manía) (madness, frenzy; enthusiasm, inspired frenzy; mad passion, fury), from μαίνομαι (maínomai) (I am mad) +‎ -ῐ́ᾱ (-íā).  The –ia suffix was from the Latin -ia and the Ancient Greek -ία (-ía) & -εια (-eia), which form abstract nouns of feminine gender.  It was used when names of countries, diseases, species etc and occasionally collections of stuff.  The Ancient Greek mainesthai (to rage, go mad), mantis (seer) and menos (passion, spirit), were all of uncertain origin but probably related to the primitive Indo-European mnyo-, a suffixed form of the root men- (to think)," with derivatives referring to qualities and states of maenad (mind) or thought.

The suffix –mania was from the Latin mania, from the Ancient Greek μανία (mania) (madness).  In modern use in psychiatry it is used to describe a state of abnormally elevated or irritable mood, arousal, and/or energy levels and as a suffix appended as required.  In general use, under the influence of the historic meaning (violent derangement of mind; madness; insanity), it’s applied to describe any “excessive or unreasonable desire; a passion or fanaticism” which can us used even of unthreatening behaviors such as “a mania for flower arranging, crochet etc”.  As a suffix, it’s often appended with the interfix -o- make pronunciation more natural.  The sense of a "fad, craze, enthusiasm resembling mania, eager or uncontrollable desire" dates from the 1680s, the use in English in this sense borrowed from the French manie.  In Middle English, mania had sometimes been nativized as manye. The familiar modern use as the second element in compounds expressing particular types of madness emerged in the 1500s (bibliomania 1734, nymphomania, 1775; kleptomania, 1830; narcomania 1887, megalomania, 1890), the origin of this being Medical Latin, in imitation of the Greek, which had a few such compounds (although, despite the common perception, most were actually post-classical: gynaikomania (women), hippomania (horses) etc).

The adjective maniac was from circa 1600 in the sense of "affected with mania, raving with madness" and was from the fourteenth century French maniaque, from the Late Latin maniacus, from the Ancient Greek maniakos, the Adoption in English another borrowing from French use; from 1727 it came also to mean "pertaining to mania." The noun, "one who is affected with mania, a madman" was noted from 1763, derived from the adjective.  The adjective manic (pertaining to or affected with mania), dates from 1902, the same year the clinical term “manic depressive” appeared in the literature although, perhaps strangely, the condition “manic depression” wasn’t describe until the following year although the symptoms had as early as 1857 been noted as defined as “circular insanity”, from the from French folie circulaire (1854).  It’s now known as bi-polar disorder.  The constructions hypermania & submania are both from the mid-twentieth century.  The adjective maniacal was from the 1670s, firstly in the sense of "affected with mania" and by 1701 "pertaining to or characteristic of a maniac; the form maniacally emerged during the same era.  Mania is quite specific but craving, craze, craziness, enthusiasm, fad, fascination, frenzy, infatuation, lunacy, obsession, passion, rage, aberration, bee, bug, compulsion, delirium, derangement, desire & disorder peacefully co-exist.

Noted manias

Anglomania: An excessive or undue enthusiasm for England and all things English; rarely noted in the Quai D'Orsay.

Anthomania: An extravagant passion for flowers; although it really can’t be proved, the most extreme of these are probably the orchid fanciers.  Those with an extravagant passion for weed are a different sub-set of humanity and are really narcomanics (qv) although there may be some overlap. 

Apimania: A passionate obsession with bees; beekeepers tend to be devoted to their little creatures so among the manias, this one may more than most be a spectrum condition.

Arithmomania: A compulsive desire to count objects and make calculations; noted since 1884, it’s now usually regarded as being within the rubric of obsessive-compulsive disorder (OCD).

Bibliomania: A rage for collecting rare or unusual books.  This has led to crime and there have been famous cases.

Cacodaemomania: The obsessive fixation on the idea that one is inhabited by evil spirits.  To the point where it becomes troublesome it’s apparently rare but there are dramatic cases in the literature, one of the most notorious being Anneliese Michel (1952–1976) who was subject to the rites of exorcism by Roman Catholic priests in the months before she died.  The priests and her parents (who after conventional medical interventions failed, also become convinced the cause of her problems was demonic possession) were convicted of various offences related to her death.  Films based on the events leading up to death have been released including The Exorcism of Emily Rose (2005), Requiem (2006) and Anneliese: The Exorcist Tapes (2011).

Callomania: The obsessive belief in one’s own beauty, even when to all others this is obviously delusional.

Dipsomania: The morbid craving for alcohol; in pre-modern medicine, it was used also to describe the “temporary madness caused by excessive drinking”, the origin of this being Italian (1829) and German (1830) medical literature.

Egomania: An obsessive self-centeredness; it was known since 1825 but use didn’t spike until Freud (and others) made it widely discussed after the 1890s and few terms from the early days of psycho-analysis are better remembered.

Erotomania: Desperate love, a sentimentalism producing morbid feelings.

Flagellomania: An obsessive interest in flogging and/or being flogged, often as one’s single form of sexual expression and thus a manifestation of monomania (qv).  The English Liberal Party politician Robert Bernays (1902-1945), the son of a Church of England vicar, was a flagellomanic whose proclivities were, in the manner of English society at the time, both much discussed and kept secret.  He was also an illustration of the way such fetishes transcend other sexual categories.

Gallomania: An excessive or undue enthusiasm for France and all things French; rarely noted in the British Foreign Office.

Graphomania: A morbid desire to write.  Niccolò Machiavelli (1469-1527; Italian diplomat, philosopher and political advisor of the Renaissance) attributed many of the problems he suffered to his graphomania and he was right, his sufferings because of what he wrote, when it was written and about whom.

Hippomania: An excessive fondness for horses; an affliction which often manifests as the intense and passionate interest in horses developed by some girls who join pony clubs and fall in love.

Hypermania: There’s a definitional dualism to hypermania; it can mean either an extreme example of any mania or, as used by clinicians, specifically (and characterized usually by a mental state with high intensity disorientation and often violent behavior), a severe case of bipolar disorder (the old manic-depression).  The earlier term was hypomania (A manic elation accompanied by quickened perception), one of the earliest (1882) clinical terms from early-modern psychiatry.

Kleptomania: The obsessive desire to steal; in early (1830s) use, the alternative form was cleptomania.  The klepto element was from the Ancient Greek kleptes (thief, a cheater), from kleptein (to steal, act secretly), from the primitive Indo-European klep- (to steal), from the root kel- (to cover, conceal, save) and was cognate with the Latin clepere (to steal, listen secretly to), the Old Prussian au-klipts (hidden), the Old Church Slavonic poklopu (cover, wrapping) and the Gothic hlifan (to steal) & hliftus (thief).  The history of the word kleptomania is of interest also to sociologists in that as early as the mid-nineteenth century, there was controversy about the use by those with the capacity to buy the services of doctors and lawyers were able to minimize or escape the consequences of criminal misbehavior by claiming a psychological motive.  The argument was that the “respectable” classes were afforded the benefit of this defense while the working class were presumed to be inherently criminal and judged accordingly.  The same debate, now also along racial divides, continues today.

Lindsaymania: A specific instance of mania suffered by those obsessed with Lindsay Lohan (manifested often on Instagram and other social media platforms), including those poor deluded souls who curate blogs with substantial Lohanic content.  They are sometimes referred to as "Lindsaiacs".  Those who focus on Ms Lohan's feet were historically labeled podophiles but the DSM has since re-classified them as "foot particularists"; if their interest is restricted to her feet alone they are a subset of the Lindsaymaniacs whereas if their interest includes the feet of others, they are pure foot particularists. 

Logomania: An obsession with words.  It differs from graphomania (qv) which is an obsession to write; logomania instead is a fascination with words, their meanings and etymologies.

Megalomania: Delusions of greatness; a form of insanity in which the subjects imagine themselves to be great, exalted, or powerful personages.  It was first used in the medical literature in 1866 (from the French mégalomanie) and came to be widely applied to many politicians and potentates the twentieth century.

Micromania:  "A form of mania in which the patient thinks himself, or some part of himself, to be reduced in size", noted first in 1879 and twenty years later used also in reference to insane self-belittling.  In the twentieth century and beyond, micromania was widely used, sometimes humorously, to refer to things as varied as the sudden consumer in interest in small cars to the shrinking size of electronic components.   

Monomania: An insane obsession in regard to a single subject or class of subjects; applied most often in academic, scientific or political matters but can be used about anything where the overriding mental impulses are perverted to a specific delusion or the pursuit of a particular thing.

Morphinomania: A craving for morphine; one of the earliest of the words which noted specific addictions, it dates from 1885 but earlier still there had been morphiomania (1876) and morphinism (1875) from the German Morphiumsucht.  In the medical literature, morphinomaniac & morphiomaniac rapidly became common.

Narcomania: The uncontrollable craving for narcotic drugs and a term which is so nineteenth century, the preferred modern form being variations of "addiction".

Necromania: An obsession to have sexual relations with the bodies of the dead although, perhaps surprisingly, practitioners (those who treat rather than practice the condition) classify many different behaviors which they list under the rubric of necromania, some of the less confronting being a morbid interest in funeral rituals,  morgues, autopsies, and cemeteries.   Those whose hobbies include the study of the architecture of crypts and tombs or the coachwork of funeral hearses might be shocked to find there are psychiatrists who classify them in the same chapters as those who enjoy intimacy with corpses.

Nymphomania: The morbid and uncontrollable sexual desire in women.  Perhaps the most celebrated (and often sought) of the manias, it dates from 1775, in the English translation of Nymphomania, or a Dissertation Concerning the Furor Uterinus (1771) by French doctor Jean Baptiste Louis de Thesacq de Bienville (1726-1813), the construct being the Ancient Greek nymphē (bride, young wife; young lady) + mania.  The actual condition is presumed to have long pre-dated the term and in use, deserves to be distinguished from less pleasing modern forms such as the "skanky ho".

Onomatomania: One obsessively compelled to respond with a rhyming word to the last word spoken by another (something possible even with orange and silver).  It’s thought to co-exist with other conditions, especially schizophrenia.

Phonomania: An uncontrollable urge to murder; those who suffer this now usually described as the more accessible “homicidal maniac”.  When applied especially to serial killers, the companion condition (just further along the spectrum) is androphonomania which, if properly argued, could be a defense against a charge of mass-murder but counsel would need to be most assiduous in jury selection.

Plutomania: The obsessive pursuit of wealth (and used sometimes in a clinical setting to describe an "imaginary possession of wealth").

Pyromania: A form of insanity marked by a mania for destroying things by fire.  It was used in German in the 1830s and seemed to have captured the imagination of Richard Wagner (1813–1883); the older word for the condition was incendiarism.

Rhinotillexomania: Nose picking. Gross, but a thing which apparently often manifests when young but fades, usually of its own volition or in reaction to the disapprobation of others.

Trichotillomania: The compulsion to pull-out one’s hair.  The companion condition is trichtillophagia which is the compulsive eating of one’s own hair, one of a remarkable number of eating disorders.

Definitional variations in the criteria for mania, DSM-IV & DSM-5

The study and classification of idea of manias had been part of psychiatry almost from its origin as a modern discipline although the wealth of details and fragmentation of nomenclature would come later, the condition first noted “increased busyness”, the manic episodes characterized by Emil Kraepelin (1856-1926; a founding father of psychiatric phenomenology) as those of someone who was “…a stranger to fatigue, his activity goes on day and night; work becomes very easy to him; ideas flow to him.” 

Whatever the advances (and otherwise) in treatment regimes, little has changed in some aspects of the condition.  In the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-5, 2013), the primary criterion of mania remains “a distinct period of abnormally and persistently elevated, expansive, or irritable mood” and “abnormally and persistently increased goal-directed activity or energy” but did extend duration of the event to qualify for a diagnosis.  In the DSM-IV (1994), the criterion for a manic episode only required “a distinct period of abnormally and persistently elevated, expansive, or irritable mood, lasting at least one week” whereas DSM-5 now requires in addition the presence of “abnormally and persistently increased goal-directed activity or energy”; moreover, these symptoms must not only last at least one week, they must also be “present most of the day, nearly every day.”

The changes certainly affected the practice of the clinician, DSM-5 substantially increasing the complexity associated with the diagnosis and treatment of bipolar disorder, no longer requiring that clinically significant symptoms which may be present should be ignored.  All those years ago, Kraepelin conceptualized manic-depression as a single illness with a continuum of episodic presentations including admixtures of symptoms which have long since been considered opposing polarity.  DSM-5 thus represents an advance with the possibility of improved treatment outcomes because it enables clinicians to diagnose mood episodes and specify the presence of symptoms inconsistent with pure episodes; a major depressive episode with or without mixed features and manic/hypomanic episodes with or without mixed features.

The revisions in DSM-5 also reflect the efforts of the editors over several decades to simplify diagnostic criteria while developing more precise categories of classification.  In the DSM-IV, both bipolar disorder and major depressive disorder were included in one chapter of mood disorders and a “mixed state” was a subtype of bipolar I mania, a diagnosis of a mixed state requiring that criteria for both a manic episode (at least three or four of seven manic symptoms) and a depressive episode (at least five of nine depressive symptoms) were met for at least one week.  In DSM-5, bipolar disorder and depressive disorders have their own chapters, and “mixed state” was removed and replaced with “manic episode with mixed features” and “major depressive disorder with mixed features.”

Wolfram & Tungsten

Wolfram (pronounced wool-fruhm or vawl-fruhm)

In chemistry, another name for tungsten.

1750–1760: From the German Wolfram (originally, wolframite), the construct probably Wolf + -ram, representing the Middle High German rām (the Modern German Rahm) (soot, dirt) and formed on the model the proper name, Wolfram.  The speculation is it was used pejoratively of tungsten because it was thought inferior to the point of worthlessness compared with the tin ores with which it is often found and its presence actually diminished the quantity of tin produced through smelting, thus the dismissive term, "wolf-raven".

Tungsten (pronounced tuhng-stuhn)

(1) In chemistry, a rare, metallic element.  Symbol: W; atomic number: 74; atomic weight: 183.85; specific gravity: 19.3 (20°C).

(2)  An alternative name for wolfram.

1780: From the Swedish tungsten (calcium tungstate) (scheelite), the construct being tung (heavy) + sten (stone).  The Swedish tung was from the Old Norse þungr, from the Proto-Germanic þunguz; sten was from the Old Swedish sten, from the Old Norse steinn, from the Proto-Norse ᛊᛏᚨᛁᚾᚨᛉ (stainaz), from the Proto-Germanic stainaz, ultimately from the primitive Indo-European steyhz-.  Tungstenic is the adjectival form.  The word tungsten was coined by Swedish chemist Karl Wilhelm Scheele who first identified the metal in 1780.

Lindsay Lohan wearing a 19mm Cartier Tank Americaine in 18 karat white gold with a quartz movement and a silver guilloche dial with Roman numerals.  The Cartier Tank Americaine is also available in Tungsten.

Highest melting-point

Occurring principally in wolframite and scheelite, tungsten is a hard, gray to white metallic element with a high resistance to corrosion and has the highest melting point of all elements (3410°C ± 20°; boiling point 5,900°C), retaining its strength even at high temperature.  It's was used to increase the hardness and strength of steel used in applications like electrical contact points, X-ray targets, high-speed cutting tools and electric-lamp filaments.  Tungsten's chemical symbol is “W”, drawn from its other name wolfram which comes from wolframite, the element in which it was discovered.  Wolframite means "the devourer of tin" in the disparaging slang of the time because it interferes with the smelting of tin, once considered much more valuable and in its original German form can be translated as “little value”.

Tungsten also has a much older name.  In 1556, German mineralogist and metallurgist Georgius Agricola (1494–1555) discovered a mineral between the tin ore and corroded it completely, leaving a foam.  Due to this characteristic it was said that the tin disappeared as if eaten by a wolf, so this mineral was called wolframite (“wolf foam” or “wolf rahm”, in German).  However, in 1783, Spanish chemist Fausto de Elhuyar (1755–1833) and his brother, chemist and mineralogist Juan José Elhuyar Lubize (1754–1796) discovered the element that formed wolframite was the same that formed tungsten, the difference being they were able to separate the two.

Wedding of Prince Harry (b 1984) and Meghan Markle (b 1981), Saturday 19 May 2018, St George's Chapel, Windsor Castle, London.

The entertaining, if not always reliable (the Friday Times is better), Pakistani site thenews.com.pk in 2021 reported Prince (King since September 2022) Charles (b 1948) had bestowed upon his daughter-in-law Meghan Markle (now “the difficult” Duchess of Sussex) the nickname "tungsten".  Nicknames have long been popular among the British aristocracy and have included such monikers as “duck”, “mule” and “melons” so for the duchess, it could have been worse.  Quite which of the qualities of tungsten Prince Charles had in mind isn’t known so it’s impossible to say whether he was impressed, intrigued or incandescent.  It’s all a matter of which of tungsten’s characteristics moved his thoughts because it (1) has the highest melting point of all metals, (2) is the heaviest metal known to have a biological role (some bacteria using tungsten in an enzyme to reduce carboxylic acids to aldehydes), (3) is strong and durable, (4) is highly resistant to corrosion and (5) has the highest tensile strength of any element.  However, its strength comes when it’s rendered into compounds whereas (6) pure tungsten is very soft.  So it’s hard to say but when told her father was unable to attend, Prince Charles volunteered to walk the bride down the aisle and give her away so there’s that.

Cereal & Serial

Cereal (pronounced seer-ee-uhl)

(1) Any plant of the grass family yielding an edible grain (wheat, rye, oats, rice, corn, maize, sorghum, millet et al).

(2) The grain from those plants.

(3) An edible preparation of these grains, applied especially to packaged, (often process) breakfast foods.

(4) Of or relating to grain or the plants producing it.

(5) A hamlet in Alberta, Canada.

(6) As Ceres International Women's Fraternity, a women's fraternity focused on agriculture, founded on 17 August 1984 at the International Conclave of FarmHouse fraternity.

1590s: From the sixteenth century French céréale (having to do with cereal), from the Latin cereālis (of or pertaining to the Roman goddess Ceres), from the primitive Indo-European ker-es-, from the root ḱer- (to grow”) from which Latin gained also sincerus (source of the English sincere) and crēscō (grow) (source of the English crescent).  The noun use of cereal in the modern sense of (a grass yielding edible grain and cultivated for food) emerged in 1832 and was developed from the adjective (having to do with edible grain), use of which dates from 1818, also from the French céréale (in the sense of the grains).  The familiar modern use (packaged grain-based food intended for breakfast) was a creation of US English in 1899.  If used in reference to the goddess Ceres, an initial capital should be used.  Cereal, cereology & cerealogist are nouns and ceralic is an adjective; the noun plural is cereals.

Lindsay Lohan mixing Pilk.

Cereal is often used as modifier (cereal farming, cereal production, cereal crop, non-cereal, cereal bar, pseudocereal, cereal dust etc) and a cereologist is one who works in the field of cerealogy (the investigation, or practice, of creating crop circles).  The term “cereal killer” is used of one noted for their high consumption of breakfast cereals although some might be tempted to apply it to those posting TikTok videos extolling the virtue of adding “Pilk” (a mix of Pepsi-Cola & Milk) to one’s breakfast cereal.  Pilk entered public consciousness in December 2022 when Pepsi Corporation ran a “Dirty Sodas” promotion for the concoction, featuring Lindsay Lohan.  There is some concern about the high sugar content in packaged cereals (especially those marketed towards children) but for those who want to avoid added sugar, Pepsi Corporation does sell “Pepsi Max Zero Sugar” soda and Pilk can be made using this.  Pepsi Max Zero Sugar contains carbonated water, caramel color, phosphoric acid, aspartame, acesulfame potassium, caffeine, citric acid, potassium benzoate & calcium disodium EDTA.

TikTok, adding Pilk to cereal and the decline of Western civilization.

A glass of Pilk does of course make one think of Lindsay Lohan but every mouthful of one’s breakfast cereal is something of a tribute to a goddess of Antiquity.  In 496 BC, Italy was suffering one of its periodic droughts and one particularly severe and lingering, the Roman fields dusty and parched.  As was the practice, the priests travelled to consult the Sibylline oracle, returning to the republic’s capital to report a new goddess of agriculture had to be adopted and sacrifices needed immediately to be made to her so rain would again fall on the land.  It was Ceres who was chosen and she became the goddess of agriculture and protector of the crops while the caretakers of her temple were the overseers of the grain market (they were something like the wheat futures traders in commodity exchanges like the Chicago Board of Trade (CBOT)).  It was the will of the goddess Ceres which determined whether a harvest was prolific or sparse and to ensure abundance, the Romans ensured the first cuttings of the corn were always sacrificed to her.  It’s from the Latin adjective cereālis (of or pertaining to the Roman goddess Ceres) English gained “cereal”.

For millennia humanity’s most widely cultivated and harvested crop, cereal is a grass cultivated for its edible grain, the best known of which are rice, barley, millet, maize, rye, oats, sorghum & wheat.  Almost all cereals are annual crops (ie yielding one harvest per planting) although some strains of rice can be grown as a perennial and an advantages of cereals is the differential in growth rates and temperature tolerance means harvesting schedules can be spread from mid-spring until late summer.  Except for the more recent hybrids, all cereals are variations of natural varieties and the first known domestication occurred early in the Neolithic period (circa 7000–1700 BC).  Although the trend in cultivated area and specific yield tended over centuries to display a gradual rise, it was the “green revolution” (a combination of new varieties of cereals, chemical fertilizers, pest control, mechanization and precise irrigation which began to impact agriculture at scale in the mid twentieth century) which produced the extraordinary spike in global production.  This, coupled with the development of transport & distribution infrastructure (ports and bulk carriers), made possible the increase in the world population, now expected to reach around 10 billion by mid-century before declining.

Serial (pronounced seer-ee-uhl)

(1) Anything published, broadcast etc, in short installments at regular intervals (a novel appearing in successive issues of a magazine (ie serialized); a radio or TV series etc).

(2) In library & publishing jargon, a publication in any medium issued in successive parts bearing numerical or chronological designation and intended to be continued indefinitely.

(3) A work published in installments or successive parts; pertaining to such publication; pertaining to, arranged in, or consisting of a series.

(4) Occurring in a series rather than simultaneously (used widely, serial marriage; serial murderer, serial adulterer etc).

(5) Effecting or producing a series of similar actions.

(6) In IT, of or relating to the apparent or actual performance of data-processing operations one at a time (in the order of occurrence or transmission); of or relating to the transmission or processing of each part of a whole in sequence, as each bit of a byte or each byte of a computer word.

(7) In grammar, of or relating to a grammatical aspect relating to an action that is habitual and ongoing.

(8) In formal logic and logic mathematics (of a relation) connected, transitive, and asymmetric, thereby imposing an order on all the members of the domain.

(9) In engineering & mass-production (as “serial number”), a unique (to a certain product, model etc) character string (which can be numeric or alpha-numeric) which identifies each individual item in the production run.

(10) In music, of, relating to, or composed in serial technique.

(11) In modern art, a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process, in accordance with the principles of modularity.

(12) In UK police jargon, a squad of officers equipped with shields and other protective items, used for crowd and riot control.

1823: From the New Latin word seriālis, from the Classical Latin seriēs (series), the construct being serial + -al on the Latin model which was seriēs + -ālis.  It was cognate to the Italian seriale.  The Latin seriēs was from serere (to join together, bind), ultimately from the primitive Indo-European ser- (to bind, put together, to line up).  The -al suffix was from the Middle English -al, from the Latin adjectival suffix -ālis, ((the third-declension two-termination suffix (neuter -āle) used to form adjectives of relationship from nouns or numerals) or the French, Middle French and Old French –el & -al.  It was use to denote the sense "of or pertaining to", an adjectival suffix appended (most often to nouns) originally most frequently to words of Latin origin, but since used variously and also was used to form nouns, especially of verbal action.  The alternative form in English remains -ual (-all being obsolete).  The –alis suffix was from the primitive Indo-European -li-, which later dissimilated into an early version of –āris and there may be some relationship with hel- (to grow); -ālis (neuter -āle) was the third-declension two-termination suffix and was suffixed to (1) nouns or numerals creating adjectives of relationship and (2) adjectives creating adjectives with an intensified meaning.  The suffix -ālis was added (usually, but not exclusively) to a noun or numeral to form an adjective of relationship to that noun. When suffixed to an existing adjective, the effect was to intensify the adjectival meaning, and often to narrow the semantic field.  If the root word ends in -l or -lis, -āris is generally used instead although because of parallel or subsequent evolutions, both have sometimes been applied (eg līneālis & līneāris).  Serial, serializer , serialization serialism & serialist are nouns, serialing, serialize & serialed are verbs, serializable is an adjective and serially is adverb; the noun plural is serials.

The “serial killer” is a staple of the horror film genre.  Lindsay Lohan’s I Know Who Killed Me (2007) was not well received upon release but it has since picked up a cult following.

The adjective serial (arranged or disposed in a rank or row; forming part of a series; coming in regular succession) seems to have developed much in parallel with the French sérial although the influence of one on the other is uncertain.  The word came widely to be used in English by the mid nineteenth century because the popular author Charles Dickens (1812–1870) published his novels in instalments (serialized); sequentially, chapters would appear over time in periodicals and only once the series was complete would a book appear containing the whole work.  The first use of the noun “serial” to mean “story published in successive numbers of a periodical” was in 1845 and that came from the adjective; it was a clipping of “serial novel”.  By 1914 this had been extended to film distribution and the same idea would become a staple of radio and television production, the most profitable for of which was apparently the “mini-series”, a term first used in 1971 although the concept had been in use for some time.  Serial number (indicating position in a series) was first recorded in 1866, originally of papers, packages and such and it was extended to soldiers in 1918.  Surprisingly perhaps, given the long history of the practice, the term, “serial killer” wasn’t used until 1981 although the notion of “serial events” had been used of seemingly sequential or related murders as early as the 1960s.  On that model, serial became a popular modifier (serial rapist, serial adulterer, serial bride, serial monogamist, serial pest, serial polygamy etc)

For those learning English, the existence of the homophones “cereal” & “serial” must be an annoying quirk of the language.  Because cereals are usually an annual crop, it’s reasonable if some assume the two words are related because wheat, barley and such are handled in a “serial” way, planting and harvesting recurrent annual events.  Doubtless students are told this is not the case but there is a (vague) etymological connection in that the Latin serere meant “to join together, to bind” and it was used also to mean “to sow” so there is a connection in agriculture: sowing seeds in fields.  For serial, the connection is structural (linking elements in a sequence, something demonstrated literally in the use in IT and in a more conceptual way in “serial art”) but despite the differences, both words in a way involve the fundamental act of creating order or connection.

Serial art by Swiss painter Richard Paul Lohse (1902–1988): Konkretion I (Concretion I, 1945-1946), oil on pavatex (a wood fibre board made from compressed industrial waste) (left), Zwei gleiche Themen (Two same topics, 1947), colored pencil on paper (centre) and  Konkretion III (1947), oil on pavatex.

In modern art, “serial art” was a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process in accordance with the principles of modularity.  It was a concept the legacy of which was to influence (some prefer “infect”) other artistic schools rather than develop as a distinct paradigm but serial art is still practiced and remains a relevant concept in contemporary art.  The idea was of works based on repetition, sequences or variations of a theme, often following a systematic or conceptual approach; the movement was most active during the mid-twentieth century and a notable theme in Minimalism, Donald Judd (1928-1994), Andy Warhol (1928–1987), Sol LeWitt (1928-2007) (there must have been something “serial” about 1928) and Richard Paul Lohse (1902-1988) all pioneers of the approach.  Because the techniques of the serialists were adopted by many, their style became interpolated into many strains of modern art so to now speak of it as something distinctive is difficult except in a historic context.  The embrace by artists of digital tools, algorithms, and AI (Artificial Intelligence) technologies has probably restored a new sort of “purity” to serial art because generative processes are so suited to create series of images, sculptures or digital works that explore themes like pattern, progression, or variation, the traditional themes of chaos, order and perception represented as before.  In a way, serial art was just waiting for lossless duplication and the NFT (Non-fungible token) and more conservative critics still grumble the whole idea is little different to an architect’s blueprint which documents the structural framework without the “skin” which lends the shape its form.  They claim it's the engineering without the art.

Relics of the pre-USB age; there were also 25 pin serial ports.

In IT hardware, “serial” and “parallel” refer to two different methods of transmitting data between devices or components and the distinction lies in how data bits are sent over a connection.  In serial communication, data was transmitted one bit at a time over as little as single channel or wire which in the early days of the industry was inherently slow although in modern implementations (such as USB (Universal Serial Bus) or PCIe (Peripheral Component Interconnect Express)) high speeds are possible.  Given what was needed in the early days, serial technology was attractive because the reduction in wiring reduced cost and complexity, especially over the (relatively) long distances at which serial excelled and with the use of line-drivers, the distances frequently were extended to hundreds of yards.  The trade-off was of course slower speed but these were simpler times.  In parallel communication, data is transmitted multiple bits at a time, each bit traveling simultaneously over its own dedicated channel and this meant it was much faster than serial transmission.  Because more wires were demanded, the cost and complexity increased, as did the potential for interference and corruption but most parallel transmission was over short distances (25 feet (7½ metres) was “long-distance”) and the emergence of “error correcting” protocols made the mode generally reliable.  For most, it was the default method of connecting a printer and for large file sizes the difference in performance was discernible, the machines able to transmit more data in a single clock cycle due to simultaneous bit transmission.  Except for specialized applications or those dealing with legacy hardware (and in industries like small-scale manufacturing where such dedicated machines can be physically isolated from the dangers of the internet, parallel and serial ports and cables continue to render faithful service) parallel technology is effectively obsolete and serial connections are now almost universally handled by the various flavours of USB.

Dwarf

Dwarf (pronounced dwawrf)

(1) A person of abnormally small stature owing to a pathological condition, especially one suffering from cretinism or some other disease that produces disproportion or deformation of features and limbs.  In human pathology, dwarfism is usually defined, inter-alia, as an adult height less than 1.47 m (4 ft 10 in).

(2) In zoology & botany, an animal or plant much smaller than the average of its kind or species.

(3) In European folklore, a being in the form of a small, often misshapen and ugly, man, usually having magic powers.

(4) In Norse mythology, any member of a race of beings from (especially Scandinavian and other Germanic) folklore, usually depicted as having some sort of supernatural powers and being skilled in crafting and metalworking, often as short with long beards, and sometimes as clashing with elves.

(5) In astronomy, a small version of a celestial body (planet, moon, galaxy, star etc).

(6) Of unusually small stature or size; diminutive; to become stunted or smaller.

Pre 900: From the Middle English dwerf, dwergh, dwerw & dwerȝ, from the Old English dweorh & dweorg (dwarf), replacing the Middle English dwerg and ultimately from the Proto-Germanic dwergaz.  It was cognate with the Scots dwerch, the Old High German twerg & twerc (German Zwerg), the Old Norse dvergr (Swedish dvärg), the Old Frisian dwirg (West Frisian dwerch), the Middle Low German dwerch, dwarch & twerg (German & Low German Dwarg & Dwarch) and the Middle Dutch dwerch & dworch (Dutch dwerg).  The Modern English noun has undergone complex phonetic changes. The form dwarf is the regular continuation of Old English dweorg, but the plural dweorgas gave rise to dwarrows and the oblique stem dweorge which led to dwery, forms sometimes found as the nominative singular in Middle English texts and in English dialects.  Dwarf is a noun and verb, dwarfness & dwarfishness are nouns, dwarfish & dwarflike are adjectives and dwarfishly is an adverb.  The plural forms are dwarves and dwarfs.  Dwarfs was long the common plural in English but after JRR Tolkien (1892-1973) used dwarves, his influence was enough to become the standard plural form for mythological beings.  For purposes non-mythological, dwarfs remains the preferred form.

The M Word

1972 MG Midget (RWA) in British Racing Green (BRG).

Dwarf seems still to be an acceptable term to describe those with dwarfism and Little People of America (LPA), the world’s oldest and largest dwarfism support organization (which maintains an international, membership-based organization for people with dwarfism and their families) has long campaigned to abolish the use of the word “midget” in the context of short humans.  The objection to midget is associative.  It was never part of the language of medicine and it was never adopted as official term to identify people with dwarfism, but was used to label used those of short stature who were on public display for curiosity and sport, most notoriously in the so-called “freak shows”.  Calling people “midgets” is thus regarded as derogatory.  Midget remains an apparently acceptable word to use in a historic context (midget submarine, MG Midget et al) or to describe machinery (midget car racing; the Midget Mustang aerobatic sports airplane) but no new adoptions have been registered in recent years.  The LPA is also reporting some supportive gestures, noting with approval the decision of the Agricultural Marketing Service (AMS) of the US Department of Agriculture’s (USDA) to revise the nomenclature used in the US standards for grades of processed raisins by removing five references to the term “midget”.  Although obviously a historically benign use of the word, its removal was a welcome display of cultural sensitivity.

An interesting outlier however is midget wrestling, a field in which the participants are said enthusiastically to support the label, citing its long traditions and the marketing value of the brand.  Although in the late twentieth century, midget wrestling’s popularity diminished in the last decade there’s be a resurgence of interest and the sport is now a noted content provider for the streaming platforms which run live and recorded footage.  Since the 1970s, midget wrestling has included styles other than the purely technical form with routines extending from choreographed parody and slapstick performances to simulated sexual assault.  These innovations have attracted criticism and the suggesting it’s a return to the freak shows of earlier centuries but audiences in the target demographic seem appreciative and, noting the success of a number of tours and operators, Major League Wrestling in 2022 announced the creation of a midget division.

The MG Midget

Where it began: 1930 MG M-Type Midget Roadster.

The earliest cars to wear MG badge (the name originally “Morris Garages”, an operation which had the same relationship to Morris as AMG does to Mercedes-Benz (ie high-performance variants)) were tuned (and often re-bodied) editions of existing Morris models but in 1928 the 8/33 M.G Midget Sports Series M (truncated usually to “M Type” was displayed at the 1928 London Olympia Motor, series production commencing the next season.  The first of a long line of tiny roadsters, 3,232 would be made between 1929-1932 and the one in the photographs above is fitted with coachwork typical of the era: an open two-seater in the fashionable “boat-tail” style, constructed by Carbodies of Coventry using construction technique which began in aviation, the panels a mix of steel and fabric-covered plywood over an ash frame.  The fabric soft-top was stored under the rear deck along its frame, tools and a spare wheel.  In the spirit of the age, a rakish two-piece windshield was fitted and there was no provision for a heater.  Despite the minimalist accommodation, the engine was surprisingly advanced, the four-cylinder engine using a bevel-gear-driven single overhead cam turning off the vertically mounted generator, 27 horsepower at a then impressive 5400 rpm generated from a displacement of 847 cm3 (51.68 cubic inches).  A footnote in the Midget’s history is that the first exported to the US was in 1930 bought by Edsel Ford (1893–1943; president of the Ford Motor Company (FoMoCo) 1919–1943), then titular head of his father’s (Henry Ford (1863-1947)) eponymous Motor company which, by the million, built larger vehicles.

1960 Austin-Healey Sprite Mark I (top left), 1966 MG Midget Mark II (top right), 1973 MG Midget Mark III (RWA, bottom left) and 1979 MG Midget Mark IV (bottom right).

For a new generation (1961-1979) of diminutive roadsters, MG revived the Midget name last used on the M-Type. MG was by the 1950s part of British Motor Corporation (BMC (1952-1967) which later would be absorbed by the doomed British Leyland (1968–1990)) and a corporate companion marquee was Austin-Healey which between 1958-1961 produced the Sprite (known variously as the “bugeye” or “frogeye”), a small sports car, built on the familiar template of economy car underpinnings with a stylish body.  After the release of the MGA (1955-1962), MG no longer had a competitor in the low-price segment so BMC took the decision that the two companies would share the model, yet another example of the “badge engineering” which BMC pragmatically (and for a while lucratively) would exploit until the process descended into self-defeating absurdity.  When the Mark II Sprites were released in 1961 (without the distinctive headlights which were the source of the nicknames), simultaneously there was the debut of the Midget, the latter slightly more expensive and better equipped, although both remained basic roadsters in the old tradition, lacking fittings such as side windows and external door-handles.  The Sprite would continue in three versions (Mark II; 1961-1964, Mark III; 1964-1966, Mark IV 1966-1971) before, following the end of BMC’s contractual arrangement with Donald Healey (1898–1988), briefly it was sold as the Austin Sprite (1971-1972) before the name was retired and the segment was left to MG.  In the decade they’d been companion models, the pair significantly had been improved, gaining power, refinement and creature comforts (the overdue door handles and side windows part of the Mark II upgrades) but what never changed were the dimensions, the things always small, something the balanced styling tended to disguise, the compactness best appreciated when one was seen parked next to a more typically sized vehicle; the Sprite and Midget being dwarfed.

Almost 130,000 Sprites were built while Midget production (which lasted until 1980) totalled some 225,000, the most numerous being the later models (Mk III; 1966–1974: 100,246 units & 1500; 1974–1979: 81,916 units).  A decade before production ended it was already outdated but such was the charm (and lack of competition) that demand remained strong almost to the end.  The most fancied Midgets are the so-called RWA (round wheel arch) models produced between 1972-1974; these adopted the design used on the rear of the bugeyes and are considered the best looking (as well as making the use of wider rear tyres easier) but in 1974 MG had to revert to the squared-off look because the strength gain from the additional metal was necessary to support the large “rubber” bumpers added to conform with US regulations; the RWA bodywork was found to be prone to damage when the rear-impact tests were conducted.  Even before the huge bumpers unhappily had been grafted, US market cars had for some months had large rubber “buffers” bolted to the chrome bumpers, known in the US as “Dagmars” and in the UK as “Sabrinas” both names tributes to the hardly vague anatomical similarity with the two pop culture figures.  Along with the big bumpers, to comply with minimum headlight height regulations in the US, the suspension height was raised by about an inch (25 mm), something which raised the centre of gravity and thus affected the handling characteristics, something adjustments to the anti-roll bars only partially ameliorated.  Visually, the increased height was disguised by lowering curve of the front wheel arch.

Triumph Spitfire, also a midget-sized roadster

A midget (with a small “m”) dwarfed by two behemoths: A 1977 Triumph Spitfire between two Ford Super Duty F-450s heavy pick-up trucks.  At their intended purpose (carrying or towing heavy payloads) Ford’s Super Duty heavy pick-up trucks perform well but such is the consumer appeal they’re a not uncommon sight used as passenger vehicles, even in cities; they can thus be both a personal and political statement, owners delighted Ford has made pick-ups great again (MPUGA).

Adopted for the range in 1999, Ford between 1958-1981 had previously used the “Super Duty” label on three large displacement (401, 477 & 534 cubic inch (6.6, 7.8 & 8.8 litre) gas (petrol) V8s, the family one of a remarkable variety of different V8s the corporation produced during the 1950s & 1960s.  Big, heavy and low-revving, the Super Duty V8 were legendarily robust and famed for their longevity but were doomed ultimately by their prodigious thirst.  They were intended only for heavy-duty, industrial use and in that very different from the Pontiac Super Duty (SD) V8s which were high-performance units, the early versions in the 1960s optimized for drag racing while the revival the next decade was the final fling of the original muscle car era (1964-1974).  The 389 & 421 cubic inch (6.4 & 6.9 litre) versions were offered between 1960-1963 while the 455 (7.5) appeared in 1973-1974 and had it not been for the 455 SD Pontiac Firebirds in those years, the muscle car era would have been regarded as having ended in 1972.  The Watergate-era 455 SD is also a footnote in the history of environmental law because Pontiac (in a preview of Volkswagen’s later “Dieselgate”) used a device to “cheat” on emission testing being undertaken as part of the certification process.  Caught re-handed, Pontiac, guilty as sin, was compelled to remove the “cheat gear” and re-submit a vehicle for testing; that’s the reason the 1973-1974 455 SD was rated at 290 horsepower (HP) rather than the 310 of the original (and more toxic) engine.

1967 Triumph Spitfire Mark II (left) and 1972 Triumph Spitfire Mark IV (with after-market exhaust tips, right).

The Triumph Spitfire had the same relationship to the larger TR sports cars (1952-1976) as the Midget did to the MGB.  Produced in five distinct generations between 1962-1980, like the Sprite & Midget, the Spitfire featured a stylish body atop the platform of a high-volume model and for the coachwork Triumph out-sourced the job to Italy, Giovanni Michelotti (1921–1980) producing a shape which owed nothing to the little Herald (1959-1971) on which it was based.  In continuous production in five versions (Mark I; 1962–1964, Mark II; 1965–1967, Mark III; 1967–1970, Mark IV; 1970–1974 & 1500; 1974–1980), almost 315,000 were built with the later models the most popular, the some 96,000 of the 1500s sold.  Like the Midget, the Spitfire was over the years improved although the things did at least stagnate in the post-1974 US models which became heavier, slower and uglier although in the 1970s that was a general industry trend.  The Although soon under the same corporate umbrella, the Midget & Spitfire were competitors (in the showroom and on the circuits) for almost two decades and when Road & Track magazine in their September 1967 edition published a comparison test, they couldn't decide which was best, concluding: "...whichever one the buyer chooses, he is assured of many miles of motoring pleasure in the great sports car tradition.  They're good cars, both of them.  You can't go wrong."  For the readers that may not have been a great deal of help and the phrasing must have been force of habit because the two little roadsters had always enjoyed some popularity among women.  

The photograph run in 1959 with the caption “Hark the Herald’s axle’s swing” (left) and a Mark I Spitfire's swing axles displaying the same behavior.

The Spitfires of the 1960s were a bit more lively but that description wasn’t always a compliment because, based on the Herald, what was inherited was the swing-axle rear suspension and swing the axles certainly could, leading to a “lively rear”.  When the British motoring press first tested the Herald they noted the behaviour of the swing axles under extreme load and had a photographer appropriately positioned: The caption “Hark the Herald’s axle’s swing” became famous.  None of that deterred Triumph which in 1962 introduced a more powerful version powered by a 1.6 litre (97 cubic inch) straight six.  That meant a faster car which meant the behaviour of the swing axles could be experienced at a higher speed (with all that implies) but the car sold well which was encouraging so Triumph in 1966 fitted a 2.0 litre (122 cubic inch) six.  It was not until 1968 the rear suspension was revised and this curative solved the errant characteristics to a degree which impressed even the usually sceptical motoring journalists and sales remained strong until production ended in 1971.  Offered only in four-cylinder form, the revisions to the Spitfire’s rear suspension were less complex but when tested on the Mark IV in 1970, the improvement was apparent and from this point, criticism ceased of of road-holding at the limit.

1967 Triumph GT6 Mark I (also with after-market exhaust tips, left) and 1979 Triumph Spitfire 1500 (right).  With production ending in 1973, the GT6 was spared from being disfigured by the battering-ram like bumpers imposed on the Spitfire, those on the last of the line (1979-1980) the biggest.

While the roadster never gained six-cylinder power, Triumph from 1966 offered a coupé version (with a convenient hatchback, al la the Jaguar E-Type (XKE, 1961-1974) called the GT6.  Mechanically it followed the Vitesse except it was only ever fitted with the 2.0 litre engine and didn’t receive the suspension fix until the Mark II in 1969 and that transformed things although, being relatively complex it must have been deemed too expensive to justify on what proved a low-volume model and the with the release of the Mark III in 1970, a version of that used on the Spitfire was substituted and it proved just as effective.  Sales of the GT6 never matched the company’s expectation and the market preferred the MGB GT (1965-1980) which used the same concept for the body.  Noting the costs which would have been incurred to make the GT6 compliant with the US regulations to take effect from 1974, production ended in late 1973.  Because the considerably more powerful (especially the fuel-injected versions sold outside the US) 2.5 litre six Triumph used in the TR5 (which, with twin carburetors, was in North America sold as the TR-250), TR6, 2.5 PI & 2500 is a relatively easy swap, quite a few GT6s have been so upgraded although some attention does need to be paid to the chassis to achieve a completely satisfactory road car.  

The short stature of Victor Emmanuel III (1869–1947; King of Italy 1900-1946) with (left to right), with Aimone of Savoy, King of Croatia (Rome, 1943), with Albert I, King of the Belgians (France, 1915), with his wife, Princess Elena of Montenegro (Rome 1937) & with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), observing the Italian navy conduct manoeuvres, Gulf of Naples, 1938.  Note the King of Italy's sometimes DPRKesque hats.

Technically, Victor Emmanuel didn’t fit the definition of dwarfism which sets a threshold of adult height at 4 feet 10 inches (1.47 m), the king about 2 inches (50 mm) taller (or less short) and it’s thought the inbreeding not uncommon among European royalty might have been a factor, both his parents and grandparents being first cousins.  However, although not technically a dwarf, that didn’t stop his detractors in Italy’s fascist government calling him (behind his back) il nano (the dwarf), a habit soon picked up the Nazis as der Zwerg (the dwarf) (although Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) was said to have preferred der Pygmäe (the pygmy)).  In court circles he was knows also (apparently affectionately) as la piccola sciabola (the little sabre) a nickname actually literal in origin because the royal swordsmith had to forge a ceremonial sabre with an unusually short blade for the diminutive sovereign to wear with his many military uniforms.  His French-speaking wife (Princess Elena of Montenegro (1873–1952; Queen of Italy 1900-1946)) stood a statuesque six feet (1.8 m) tall and always called him mon petit roi (my little king).  It was a long and happy marriage and genetically helpful too, his son and successor (who enjoyed only a brief reign) very much taller although his was to be a tortured existence.  Still, in his unhappiness the scion stood tall and that would have been appreciated by the late Prince Philip, Duke of Edinburgh (1921–2021) who initially approved of the marriage of Lady Diana Spencer (1960-1997) to the Prince of Wales (b 1948) on the basis that she “would breed some height into the line”.

In cosmology, the word dwarf is applied to especially small versions of celestial bodies.  A dwarf galaxy is a small galaxy of between several hundred and several billion stars, (the Milky Way may have as many as billion) and astronomers have identified many sub-types of dwarf galaxies, based on shape and composition.  A dwarf planet is a small, planetary-mass object is in direct orbit of a star, smaller than any of the eight classical planets but still a world in its own right.  Best-known dwarf planet is now Pluto which used to be a planet proper but was in 2006 unfortunately down-graded by the humorless types at the International Astronomical Union (IAU) who are in charge of such things.  It’s hoped one day this decision will be reversed so Pluto will again be classified a planet.  Dwarf planets are of interest to planetary geologists because despite their size, they may be geologically active bodies.  The term dwarf star was coined when it was realized the reddest stars could be classified as brighter or dimmer than our sun and they were created the categories “giant star” (brighter) and dwarf star (dimmer).  As observational astronomy improved, the

With the development of infrared astronomy there were refinements to the model to include (1) the dwarf star (the “generic” main-sequence star), (2) the red dwarf (low-mass main-sequence star), (3) the yellow dwarfs are (main-sequence stars with masses comparable to that of the Sun, (4) the orange dwarf (between a red dwarf and yellow/white stars), (5) the controversial blue dwarf which is a hypothesized class of very-low-mass stars that increase in temperature as they near the end of their main-sequence lifetime, (6) the white dwarf which is the remains of a dead star, composed of electron-degenerate matter and thought to be the final stage in the evolution of stars not massive enough to collapse into a neutron star or black hole, (7) the black dwarf which is theorized as a white dwarf that has cooled to the point it no longer emits visible light (it’s thought the universe is not old enough for any white dwarf to have yet cooled to black & (8) the brown dwarf, a sub-stellar object not massive enough to ever fuse hydrogen into helium, but still massive enough to fuse deuterium.

Coolest dwarf of all is (9) the ultra-cool dwarf (first defined in 1997), somewhat deceptively named for non cosmologists given the effective temperature can be as high as 2,700 K (2,430°C; 4,400°F); in space, everything is relative.  Because of their slow hydrogen fusion compared to other types of low-mass stars, their life spans are estimated at several hundred billion years, with the smallest lasting for about 12 trillion years.  As the age of the universe is thought to be only 13.8 billion years, all ultra-cool dwarf stars are relatively young and models predict that at the ends of their lives the smallest of these stars will become blue dwarfs instead of expanding into red giants.

Disney's seven dwarfs; they're now cancelled.

The events towards the conclusion of the nineteenth century German fairy tale Snow White and the Seven Dwarfs make ideal reading for young children.  Her evil step-mother has apparently killed poor Snow White so the seven disappointed dwarfs lay her body in a glass coffin.  The very next, a handsome prince happens upon the dwarfs’ house in the forest and is so captivated by her beauty he asks to take her body back to his castle.  To this the dwarfs agree but while on the journey, a slight jolt makes Snow White come to life and the prince, hopelessly in love, proposes and Snow White accepts.  Back at the palace, the prince invites to the wedding all in the land except Snow White's evil stepmother.

Snow White and the Seven Dwarfs, even Happy looking sad.

The step-mother however crashes the wedding and discovers the beautiful Snow White is the bride.  Enraged, she again attempts murder but the prince protects her and, learning the truth from his bride, forces the step-mother to wear a pair of red-hot iron slippers and dance in them until she dies; that takes not long and once she has the decency to drop dead, the nuptials resume.  In the way things happen in fairy tales, the prince and Snow White live happily ever after.

DEI (diversity, equity and inclusion)

The condition achondroplasiaphobia describes those with a “fear of little people".  The construct is achondroplasia (the Latin a- (not) +‎ the Ancient Greek chondro- (cartilage) + the New Latin‎ -plasia (growth); the genetic disorder that causes dwarfism) + phobia (from the New Latin, from the Classical Latin, from the Ancient Greek -φοβία (-phobía) from φόβος (phóbos) (fear).  The condition, at least to the extent of being clinically significant, is thought rare and like many of the especially irrational phobias is induced either by (1) a traumatic experience, (2) depictions in popular culture or (3) reasons unknown.  Achondroplasiaphobia has never appeared in the American Psychiatric Association’s (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM).  In 2006, it was reported that while dining at the Chateau Marmont hotel in Los Angeles, after noticing two people of short stature had entered the restaurant, Lindsay Lohan suffered an "anxiety attack" and hyperventilated to the extent she had to take "an anti-anxiety pill" to calm down.  To her companions she repeatedly said "I’m so scared of them!"  A spokesperson for the LPA responded by suggesting Ms Lohan should "...treat her fear the same as she would a fear of any other protected minority population.  If that fails, she might find diversity training to be useful."  Almost immediately the story appeared, it was debunked by a representative for Ms Lohan who issued a statement  saying she is not achondroplasiaphobic and not in any way scared of little people, adding "Lindsay loves all people."

Prince Charming's non-consensual kiss of Snow White on her "lips red as blood".

In February 2025, Luis Rubiales (b 1977), the former president of the Royal Spanish Football Federation was found guilty of sexual assault for kissing player Jenni Hermoso (b 1990) without her consent and was fined €10,800 so, at least in some jurisdictions, the matter of consenting to a kiss is not mere legal theory.

Among critics and industry analysts, the consensus seem to be that in late 1919 when the project was approved, for Disney to allocate a budget of US$200 million (it ended up being booked at around US$250 million) to a remake of Snow White and the Seven Dwarfs (1937) probably was a good idea.  Based on the German fairy tale Sneewittchen which first appeared in print early in the nineteenth century, Disney’s 1937 production was the first animated, full-length feature film made in the US and it was both critically acclaimed and a great commercial success, becoming the highest-grossing film of 1938; adjusted for inflation, it’s success then and since has made it one of the most profitable films ever made.

The elements in its success were (1) the quality of the studio’s work, (2) advances in the technology delivering sight and sound which made the audience's experience so vivid and (3) the threads of the story which are fairy tale classics: A wicked queen, jealous of her stepdaughter’s beauty orders her murder, only to discover she’s hiding out in a cottage with seven dwarves so she poisons her with an adulterated apple, inducing a deep sleep from which she eventually is awoken by the kiss of a handsome prince.  In 1937, had the word “problematic” then been in use, it wouldn't have been applied to anything in the plot but by the early 2020s, things had changed.  In the pre Trump 2.0 era, when DEI (diversity, equity & inclusion) was compulsory, having Snow White gaining her name because her skin was as “white as snow” and the very existence of dwarfs were both definitely “problematic” so the challenge was to keep the “Snow White” in the title while changing troublesome content as required.  That's been done before and had the 2024 US presidential election elected someone (probably anyone) else, Snow White could have appeared in cinemas to lukewarm reviews but a solid box office based on 7-11 year old girls still impressed at Meghan Markle (Meghan, Duchess of Sussex; b 1981) having proved its not only in fairy tales that princes rescue middle-class girls from dreary lives.  Only Fox News would much have bothered with a condemnation.

Times have changed.  Whether it's Snow White or Sleeping Beauty, for a man (whether or not a prince) to kiss an unresponsive female, it's now usually some sort of assault.  An unresponsive female cannot grant consent.

So for Disney, the timing of events was unfortunate but the earlier race and cultural controversies which swirled around the earlier remakes of Mulan (2020) and The Little Mermaid (2023) should have been a warning.  Most jarring perhaps was the absence of “dwarfs” (in the historic sense of the word).  While Snow White is of course the protagonist, in casting terms there was only one of her and seven of them so the substitution of the heptad with “magical creatures” was always going to attract a critique of its own.  According to the studio, it consulted members of the dwarfism community (the so-called “little people”) “to avoid reinforcing stereotypes” before the re-casting but, given the production was, according to many, replete with cultural, sexist and chauvinist tropes, the cancelled dwarfs received less attention than might have been expected.  With reviewers using phrases like “exhaustingly awful reboot” and “tiresome pseudo-progressive additions”, expectations of success for Snow White have been lowered.