(ﾉ◕ヮ◕)ﾉ*.✧ @marigoldtragedy - Tumblr Blog

etruscan architects deciding what to depict on the temple pediment like. what about a guy getting refused immortality by athena because in the heat of battle he decided to eat another guy’s brains

octured

Shirley Manson, Angelfish.

metamorphesque

The Piano Teacher (2001), directed by Michael Haneke

s0uvlakii

the piano teacher by elfriede jelinek (trans. joachim neugroschel)

dgilse

Goodreads reviews are a sort of inoculation against the notion that reading is a particularly more thoughtful means of engaging with shit vs like, watching or playing or whatever.

foggycatgarden

River Phoenix and Keanu Reeves photographed by Bruce Weber for Interview Magazine, 1991.

kureha-fujishima

Dear EU citizens who are currently watchin Eurovision!

May I introduce to another more important kind of contest where you can sign only once&for free (Palestine): The European Citizens' Initiative to Demand the full suspension of the EU-Isr*el Association Agreement

bestnipplesforever

ortut

Jarosław Kawiorski

catchmeifyoucreon

“For centuries, Ismene has been cast as the inert, drab backdrop against which her more colorful sister stands out. Antigone is active, Ismene passive; Antigone is heroic, Ismene cowardly, argue conventional readings. The splitting of Ismene and Antigone into passive and active characters, human-all-too-human and monstrous, oriented to survival or sacrifice, recurs even when the conventional takes on the two sisters are revalued. For example, Jill Frank argues that Ismene is not withdrawn or weak: she is patient and bides her time while Antigone, by contrast, is too quick to act, too fiery and thunderously loud to be truly effective. But Ismene does more than survive. She sacrifices herself in her own way when she responds creatively to a series of forced choices. When Ismene, who wants to die with Antigone, agrees to go on living without her, Ismene does not choose survival and avoid death. Instead, she performs what Lacan calls an ethical act: she confronts her own limit and does not back down. Her limit is not death but rather a living death: to go on living in the house of her sister’s killer, Creon.”

— Ismene’s Forced Choice: Sacrifice and Sorority in Sophocles’ Antigone. (via manticoreimaginary)