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blake kathryn
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we're not kids anymore.
titsay
⁂
taylor price
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dirt enthusiast
i don't do bad sauce passes
AnasAbdin
Aqua Utopia｜海の底で記憶を紡ぐ
Product Placement
d e v o n
@theartofmadeline
Andulka
Show & Tell
Cosimo Galluzzi
TVSTRANGERTHINGS
trying on a metaphor
seen from United States
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@cafe-vanille
“Jennifer Popiel has rehabilitated language and imagery that both contemporaries and historians have interpreted as demonstrating women’s inherent emotionality and passivity. Heroic Hearts breaks ground in its consideration of nineteenth-century women’s spirituality and its serious discussions of sentimental literature and imagery.”
ancient greek & roman lit: retellings
thank you all for your excellent suggestions!! a few folks asked for the final list so here it is (mostly) complete–some texts weren’t going to work for this specific class so they didn’t make it onto my final document.
Homer
Margaret Atwood, The Penelopiad (novel, the Odyssey)
Madeline Miller, Circe (novel, the Odyssey) and The Song of Achilles (novel, the Iliad)
Shakespeare, Troilus and Cressida (drama, the Iliad)
Natalie Haynes, A Thousand Ships (novel, the Iliad)
Louise Glück, Meadowlands (poetry collection, the Odyssey)
Ovid’s Metamorphoses
Louise Glück, Averno (poetry collection, Persephone)
Madeline Miller, “Galatea” (short story, Pygmalion)
Ali Smith, Girl Meets Boy (novella, Iphis and Ianthe)
Anwen Kya Hayward, Here, the World Entire (novella, Medusa)
Nina MacLaughlin, Wake, Siren: Ovid Resung (short stories, various)
Naomi Iizuka, Polaroid Stories (drama, various)
Euripides
Kamila Shamsie, Home Fire (novel, Antigone)
Marina Carr, By the Bog of Cats (drama, Medea)
Seamus Heaney, The Burial at Thebes (drama, Antigone)
Jean Anhouilh, Antigone (drama, Antigone)
general
Donika Kelly, The Bestiary (poetry collection)
Kate Bernheimer, Xo Orpheus (short stories)
Rick Riordan, Percy Jackson and the Olympians (YA series)
[...] the terrible and the terrific spring from the same source, and that what grants life its beauty and magic is not the absence of terror and tumult but the grace and elegance with which we navigate the gauntlet.
The Importance of Being Scared: Polish Nobel Laureate Wisława Szymborska on Fairy Tales and the Necessity of Fear
Récemment..
I was tagged by @jamiethekeener
Last song: Spotify’s “Peaceful Guitar” classical guitar playlist.
Last film: Wonder Woman 1984
Currently reading: - Upstream, Mary Oliver - Gouverneurs de la rosée, Jacques Romain - Posthuman Glossary, eds. Braidotti and Hlavajova
Currently watching: Nothing at the moment... but recently watched The Queen’s Gambit!
Craving: Last night I realized I really want to walk around a big city, like Chicago or New York. I have only done so once or twice.
Tagging @studyingchemeng, @medieval-canadian, @studyblrrenaissance
okay, this is going to be the coworking schedule this week. time zone is EST. it is subject to change based on how i feel, though–i’m trying to balance a shit-ton of reading before my exam starts with the desire to not have a constant headache, so we’ll see. i’ll post any changes on here.
i’ve also added in chelsea’s scheduled twitch streams because i wanted to have it in my calendar and it’s in the same category as the zoom co-working. i couldn’t be bothered with trying to differentiate, and also this does give a better sense of what’s going on during the week, i think. obviously i don’t control chelsea’s schedule, so keep an eye on her blog @soap-stones to make sure things don’t change. written schedule (with 12-hr time) after the break.
Keep reading
okay, chelsea’s twitch streaming schedule changed! and i both want to watch them and also don’t want to step on her toes, so here’s a new schedule, starting tomorrow. and i did change the colour of chelsea’s streams so it’s less confusing. all times here are in EST. schedule written out under the cut.
Keep reading
my recreation of Sainte Jeanne d’Arc by Paul Antoine de la Boulaye
bruh
everything about this… this statue, the choppy waves, the cliffs behind her, the echo, the drumming….. aesthetic
Lyrics in Faroese:
Trøllabundin eri eg eri eg Galdramaður festi meg festi meg Trøllabundin djúpt í míni sál í míni sál Í hjartanum logar brennandi bál brennandi bál
Trøllabundin eri eg eri eg Galdramaður festi meg festi meg Trøllabundin inn í hjartarót í hjartarót Eyga mítt festist har ið galdramaður stóð
English translation:
Spellbound am I, am I The wizard has enchanted me, enchanted me Spellbound deep in my soul, in my soul In my heart burns a smouldering fire, smouldering fire
Spellbound am I, am I The wizard has enchanted me, enchanted me Spellbound in my heart’s root, my heart’s root
WHO IS THIS FAIRY
That’s Eivør, a truly amazing Faroese singer. She has the most amazing range and vocal abilities that frankly make my hair stand on end.
Took a while for this to come back around, but it’s too beautiful not to share again.
Eivør!! One of my favorite musicians.
Nugget Point, New Zealand by Marcin
“two mingled bodies do not form a separate subject and object. I caress your skin, I kiss your mouth. Who, I? Who, you?”
— Michel Serres, The Five Senses : A Philosophy of Mingled Bodies
The semester is nearing its end!
In a true attempt to lessen my sweets habit, I’ve ordered something new at the cafe. I got a flat white with cinnamon steamed in the milk, and it is... fall/holiday goodness. Highly suggest.
Pictured are two recent reads; On the left is geographer Kathryn Yusoff’s A Billion Black Anthropocenes or None for critical theory class and on the right is Camus’ The Plague for literature class. I had to grab this English copy since the class was actually not in the French department. It’s easier to discuss in English with an English copy.
“If you’re poor, the only way you’re likely to injure someone is the old traditional way: artisanal violence, we could call it – by hands, by knife, by club, or maybe modern hands-on violence, by gun or by car. But if you’re tremendously wealthy, you can practice industrial-scale violence without any manual labor on your own part. You can, say, build a sweatshop factory that will collapse in Bangladesh and kill more people than any hands-on mass murderer ever did, or you can calculate risk and benefit about putting poisons or unsafe machines into the world, as manufacturers do every day. If you’re the leader of a country, you can declare war and kill by the hundreds of thousands or millions. And the nuclear superpowers – the US and Russia – still hold the option of destroying quite a lot of life on Earth. So do the carbon barons. But when we talk about violence, we almost always talk about violence from below, not above. […] People revolt when their lives are unbearable. Sometimes material reality creates that unbearableness: droughts, plagues, storms, floods. But food and medical care, health and well-being, access to housing and education – these things are also governed by economic means and government policy.[…] That’s a tired phrase, the destruction of the Earth, but translate it into the face of a starving child and a barren field – and then multiply that a few million times. Or just picture the tiny bivalves: scallops, oysters, Arctic sea snails that can’t form shells in acidifying oceans right now. Or another superstorm tearing apart another city. Climate change is global-scale violence, against places and species as well as against human beings. Once we call it by name, we can start having a real conversation about our priorities and values. Because the revolt against brutality begins with a revolt against the language that hides that brutality.”
— Rebecca Solnit, “Call Climate Change What It Is: Violence”
“In a fundamental way, the cannibal, more than the other monsters, enjoins the question of the distinction between the self and that which is not the self. In the first instance, cannibalism is, theoretically at least, a response to hunger and, as such, suggests other hungers. The close relationship between cannibalism and eroticism - more generally between sex and eating, more specifically between anthropophagism and incest - has long been noted (…). The monstrosity of cannibalism has to do with the same concept as the taboo of incest; the cannibal confuses the structures that function to establish the identity of self and the identity of other through similarity and difference.
The horror inspired by cannibalism attests to the reluctance of the mind to abandon distinction as the basis of being and identity. From the point of view of the victim, cannibalism threatens a greater and more complete annihilation than death, because it involves a kind of metamorphosis into the other. It reaches further than death, deep into the dread of obliteration and nonbeing, because it attacks the very notion of a natural relation between form, identity and life. (…) But the absorption of the body by another suggests a grotesque and perverse postmortem continuation of the self within and as part of another, a monstrosity, not of mixed natures, but of confused existences. Without autonomy, without identity or even consciousness, the formless self continues as an imprisoned particle of the other.”
— David Williams, Deformed Discourse: The Function of the Monster in Mediaeval Thought and Literature
Queer Moon Rising: Introducing the Werewolf Reread Marisa Mercurio Tonight, a full moon rises on Halloween night across all time zones in the United States for the first time since 1944. Unleash th…
I’m writing a series of werewolf articles! Books! Movies! Weird historical documents of real lycanthropes!
These essays focus on queer readings of werewolves as allegories for nonbinary desires and embodiments. I also look at these stories as ones of belonging and what it means to be an outcast.
“A werewolf is something ineffably queer. It is neither human nor wolf, but rather a creature of its own.“
“Queerness cannot be extracted from horror. Queerness is not horror’s context, its sub-genre, nor its subtext; queerness is the genre’s very premise.“
Read my intro to the series here, and follow me @ marmercurio and the website @ ancillaryreview on Twitter.
Emotional Trauma and Haunted Houses, Dr Trey Cole
Professor Vanessa Villarreal (@Vanessid on Twitter) shared this PDF that she made to introduce her students to key theoretical concepts, as part of an excellent thread about what ‘death of the author’ really means:
I’ve only skimmed very rapidly through the PDF so far but it looks super useful and I will absolutely be reading it in more depths as part of my ongoing quest to fill the gaps in my own understanding of theory. I thought I’d share the link here in case it’s useful to any of you!
For all of the grotesqueness, the girl-monster is an appealing figure. This is the ambiguity of the abject. Female monsters, like the possession victim discussed by Creed, act radically outside the bounds of expected female behavior. Monstrousness, like possession, is “the excuse for legitimizing a display of aberrant feminine behavior which is depicted as depraved, monstrous, abject – and perversely appealing.”
THE RISE OF THE GIRL-MONSTER PART 1: BIRTH AND BODY, Sara McCartney
Yiyun Li, “Two Lives”
