Song Jia | © Zeng Wu T Magazine China (April 2025)
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Song Jia | © Zeng Wu T Magazine China (April 2025)
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“His Heart” by Christiane Cegavske
She (Clytemnestra) describes her murder of Agamemnon in terms that invert the usual assumptions about gender roles. She was the hunter, he was the prey; she caught him in a robe as fishermen catch fish. He was in his bath and, therefore, presumably naked and supine; she stood over him, armed, as a warrior. These inversions of gender roles are shocking enough, but then she uses sexual imagery, recasting herself as female, that is more shocking still. She says that she enjoyed his blood splattering on her as flowers enjoy the rain of Zeus.Rain fertilizing plants is a commonplace metaphor for sexual intercourse. Thus, Clytaemestra seems to be saying that she derived sexual enjoyment from killing Agamemnon.
— Elizabeth vandiver, Greek tragedy lecture on Agamemnon by Aeschylus
Universal Monsters: Dracula (2023, #2)
‘Chevalier de la Nuit’ perfume by Ciro, bottle by Julien Viard, 1924.
Orlacs Hände / The Hands of Orlac (1924) dir. Robert Wiene
aura
studies from The Odyssey
By the Fireside (Frank Holl, 1878)
The Night Porter (1974) dir. Liliana Cavani
Farewell My Concubine (1993) dir. Chen Kaige
Cassandra by Frederick Sandys, 1863-1864.
CATHERINE & HÉLÈNE — LA MORTE VIVANTE.
'Gray Curtain' postcard series by Kaichi Kobayashi, c. 1925
Marian Williams, “Sleeping Beauty”
oil, collage, digital print, 2023