you can't waste your life btw it's just not something that's possible to do. your mere existence is already a precious and valuable use of your time. the time you spent becoming who you are now was inherently worthwhile
i don't do bad sauce passes
I'd rather be in outer space đž
we're not kids anymore.

ç„æ„ / Permanent Vacation

pixel skylines
art blog(derogatory)
No title available
AnasAbdin

tannertan36
Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă
$LAYYYTER
Cosmic Funnies

Product Placement

#extradirty
Show & Tell
"I'm Dorothy Gale from Kansas"

Kiana Khansmith

Janaina Medeiros
No title available
NASA
seen from TĂŒrkiye

seen from Canada
seen from United States

seen from United States
seen from TĂŒrkiye
seen from United States

seen from India
seen from China

seen from Estonia
seen from United States

seen from Spain

seen from TĂŒrkiye

seen from Austria
seen from United States

seen from Malaysia

seen from Malaysia
seen from Romania

seen from United States

seen from Saudi Arabia

seen from Saudi Arabia
@treasurelily
you can't waste your life btw it's just not something that's possible to do. your mere existence is already a precious and valuable use of your time. the time you spent becoming who you are now was inherently worthwhile
all RIGHT:
Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT
(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)
This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.
If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.
By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).
Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)
So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies
FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.
What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.
Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.
Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.
So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.
SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life
When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.
For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.
So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.
Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.
I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!
If you're writing about Byzantium/Byzantine inspired places, there's a few other things to keep in mind:
-Byzantium was a civilization that spanned a millenia and a huge geographical area. The treatment and experience of women was not constant at all times in all places.
-Women had different levels of autonomy at different periods of their lives. Many women gained great autonomy after their husband's death (and he usually died much before her), and could be registered as the head of household.
-There are basically two career options for Byzantine women: wife/mother or nun. Sometimes both, but never at the same time.
-Just as in the Latin West, class mattered a lot, and basically determined a person's entire life. Peasant women worked in agriculture and trades, while noble women had a much softer life.
-the idea that noble women were confined to the house is likely an exaggeration. (A byproduct of Byzantium's "distorting mirror") Furthermore, the women's quarters were nowhere near as closed off and restricted as the later Ottoman harems. In many places, women could move freely between their own quarters and the rest of the house. However, if a non-related male was visiting it was customary that the women would not be seen. This seems to be a mainly noble/middle class practice, and not an elite or peasant practice.
-Women played important ceremonial functions at the royal court. The Augusta (one of three titles for an empress) received the wives of visiting nobles, and was so important that, even if the emperor was unmarried, he might crown his daughter for the role. (See Leo the Wise) Additionally, there was an office reserved just for a woman, she was called "the lady with the sash" and she was placed very close to the emperor, and thus highly influential.
-Imperial women were highly influential, and could be incredibly masterful politicians.
-Women weren't forced to have endless babies until they died in childbirth. Byzantine women had access to both contraception and abortion, and there was some amount of recognition of a woman's right to choose. Furthermore, if a woman already had kids, but decided she didn't want to be a mom anymore, joining a convent was always an option. (For wealthy women)
If you're interested in learning more, the volume "Byzantine Women: Varieties of Experience," edited by Lynda Garland is a good starting point. You can also read the hymns of Kassia the Nun, or the Alexiad of Anna Komnene to get an idea of how women wrote, and what concerned elite women.
Excellent comments - plus, I'll recommend the great Judith Herrin as a magisterial voice in Byzantine women's history!
i know you probably get this question a lot so feel free to ignore lol but do you have any recs for anyone just getting into arthurian lit? theres so much its kinda crazy
yes there is so much - but have fun with it and embrace how silly and crazy it is and you will be fine :)
some easier stand alone medieval arthurian texts that are pretty straightforward and don't pull in an additional like 15 storylines that never come up again confusing one to no end (cough cough malory) would be
Lanval by Marie France (super short!)
sad overlooked knight finally gets beautiful (magical?) girlfriend. but unfortunately not everyone is happy about this. ends up getting in a legal battle with the queen.
Sir Gawain and the Green Knight (anonymous)
magical horrifying green monstrous knight rolls up to arthur's court and says one of the knights here can deal me any blow, as long as i can repay the exact same blow. arthur's nephew, sir gawain, goes count me in and cuts the guy's head right off. unfortunately the green guy survives this and now gawain has a problem
Knight of the Cart by Chrétien de Troyes
the queen is kidnapped. a nameless knight goes to retrieve her and faces all sorts of mysterious and strange trials such as bed that lights on fire and bridge made out of sword. turns out this nameless knight, as you will find out midway through the poem, is not just any ordinary knight but quite a well known one. and he is unfortunately very in love with the queen
Tristan by Gottfried von Strassburg
born out of a tragic love story between his own parents, young sir tristan's life is not exactly looking great either, seeing as he ends up getting poisoned by an enemy he kills and the only one with the cure is his enemy's sister. yikes. who has a super hot daughter. yikes. a daughter who ends up, by complicated circumstances, marrying tristan's uncle. yikes. and who also ends up accidentally sharing a love potion with tristan on the way to her wedding. YIKES.
I also happen to think all of these texts are pretty fun and not like obscure or hard to understand. good starting points! if you want to know more about like arthurian lit generally:
the english speaking arthurian world is largely informed by Le Morte d'Arthur by Thomas Malory (15th century) which has kind of the grand arthurian arcs that we often associate with legend of king arthur now - sword in the stone, holy grail, lancelot/guinevere, fall of arthur's kingdom, etc. but the narrative tbh i find pretty hard to read so if you're like omg what's going on that's just what it's like. it's totally fine to skip around that text. it doesn't necessarily need to be read in order. Gareth's story in le morte is a fun one and again pretty straightforward and can be read without the context of the rest of le morte. also john steinbeck adapted a few chapters of malory's work which i really loved and it might be a good intro if you're having trouble getting into the original.
the arthurian vulgate cycle is kind of the main source that Malory draws from - it's an incredibly long and complicated french work (13th century) that combines a lot of arthurian works before it. full disclosure it's like 1000 or more pages. but it's fun to hop around because there is some crazy stuff in there (including guinevere's imposter sister who kicks her off the throne, lancelot getting trapped in a magical dance, sir gawain finding out merlin is magically trapped and just kind of abandoning him because what is gawain going to do about it, etc). if you want to browse the first two volumes it's here on archive.org. you probably don't want to spend 45 dollars on a summary text of the vulgate cycle that includes select passages to give you an idea of what's all in it without having to read 1000 pages, but if for any reason you did, amazon sells this book that i think is very clutch
vulgate and le morte i explained for context, but give those texts at the beginning of my post a shot as intro texts and see how you like them! i know @queer-ragnelle also has like a ton of med lit/arthurian lit resources on her blog and more links than i have so her stuff is for sure worth checking out if you want more options.
the thing about arthurian lit is that it gets retold over and over and over again in many ways at many times by many people and it's kind of a never ending fascinating web of stories and characters who are in some ways related but in many texts stand alone. embrace the silliness and whimsy and confusion of it and hop around as needed. hope this helps and im happy to answer any other questions! dm or comment or ask or whatever. <3
A fall picture for your enjoyment.
source
Painting a mirror at Pingjiang Road in Suzhou, Jiangsu province, China
Melting Lamps by kumbhglass
getting really into journaling is so fucked because you will fr end up with pages like "dear diary, it's fucken wimdy today!!!!! also I might be a talentless hack with no real creative drive or discipline to speak of. xoxo âš"
âOur culture suffers from terminal brainworms when it comes to artistic expression. We are under the impression that art is something âspecial peopleâ do, and to do it well makes you a genius and to do it poorly is embarrassing. This sectioning-off of âthe art world, for artists,â from regular life and regular people is completely artificial and it is bad for the soul of your society.
You see, for most of history and in current cultures that do not have this psychological disorder, you do not sing because youâre a singer, you sing because youâre a personâitâs fucking singing! Religious institutions are one of the last places that we still understand that singing is an innately human participatory social act, not the exclusive domain of fuckinââŠAriana Grande.
The result of removing this stigma and arbitrary qualification required to do something as simple as draw or dance isnât just less self-hatred, less insecurity, less anxiety, better community, better connection to your body, more holistic communion with others and the world around you, and simple indulgence in your fundamental humanityâit also results in categorically better artists.â
CJ the X, 7 Deadly Art Sins
choose your fav puppy
Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), dir. Chantal Akerman
Interiors
« Inspiration is not the exclusive privilege of poets or artists generally. There is, has been, and will always be a certain group of people whom inspiration visits. Itâs made up of all those whoâve consciously chosen their calling and do their job with love and imagination. It may include doctors, teachers, gardeners â and I could list a hundred more professions. Their work becomes one continuous adventure as long as they manage to keep discovering new challenges in it. Difficulties and setbacks never quell their curiosity. A swarm of new questions emerges from every problem they solve. Whatever inspiration is, itâs born from a continuous âI donât know.â [âŠA]ny knowledge that doesnât lead to new questions quickly dies out: it fails to maintain the temperature required for sustaining life. »
â Wislawa Szymborska in her Nobel speech, December 1996
a wall of motherboards ,,,, she's so beautiful
A Treasured Treasury of Beloved Characters (2024).
Wool felt, cotton lawn, strawboard, embroidery & poly cotton thread, recycled PET stuffing, armature wire, plastic eyes.
Here is a collection of characters I met when I was small, all of whom have stayed with me every day since. They are housed, stitched and squished in this felt book, akin to their arrangement in my brain.
Posters available here.
country hall pottery
New York City ballet production of Midsummer Nights Dream
The fact this isn't a painting is a testament to one of the greatest feats of set design and production I've ever seen.
My god just look at this! The lighting, set design, photography... I've just never seen anything like it.
I think this is the first time I've ever been wowed by "this ISN'T a painting"!