#° subject ／ literature and composition.

[hallastudies]

li-young lee and joanna newsom live on the same wavelength in my brain. no i'm not going to explain that

[theodysseyofhomer]

if odysseus wanted have a good time sleeping around (or rather, if that's what the poet(s) wanted), he could simply do that. it's not like a male epic hero needed an excuse. what's unusual in the calypso situation is not that odysseus is sleeping with someone other than his wife; it's that the narrator affirms his unwillingness and misery.

and on the one hand, calypso is a misogynistic fantasy/nightmare in that she is a woman who can own a man in sexual slavery, which men in the world of the odyssey and of its composition do to women as a matter of course. on the other hand, she isn't a very common fantasy, is she? how often do you see a man held captive and raped in ancient literature?

or in contemporary literature, for that matter. i've had the 2013 article "the rape of james bond" saved to read for awhile (like... for a few months. not since 2013), which addresses more than the scope of this tumblr.edu post. but the author jumps off from the claim that constant sexual violence in fiction is needed for realism. she questions whether that is true in the way that it is often meant — e.g., whether the prevalence of rape in game of thrones is "realistic" to the middle ages — but she does argue that "sometimes, failing to acknowledge the risk of rape in circumstances where it would be particularly likely to be present can diminish the authenticity of a text."

[I]n so called Genre fiction, we love to strip away protection from our characters to give them an interesting job of coping on their own; parents are dead or absent or abusive, homesteads are burned down, authority figures are blinkered or oppressive; you can trust no one, for no one can hear you scream… And all these things will, in the real world, heighten a person’s vulnerability to all forms of violence, including sexual violence. So yes, realism does sometimes mean dealing with that vulnerability somehow or other. But that heightened vulnerability to sexual violence applies to men too. So where are they, all the raped male characters? People say, it would be unrealistic if she wasn’t raped, but take it for granted that of course he wasn’t. Why is that?

and yet here's the odyssey, one of the oldest extant pieces of literature, and we can't take it for granted, actually, that the pervasive threat of sexual violence in odysseus' world will never touch him.

the homeric epics include many, many enslaved people (of all genders) subject to implied rape (usually of women), and i won't pretend that's treated with the gravity it deserves. but the way calypso and odysseus are often dismissed makes me wonder if we're still not prepared for a specific kind of discomfort, rooted in the messaging we often get from fiction and society — though it does not reflect the reality of the lived experience of many people — that rape is always and only realistic when women go through it, because rape is what women and women uniquely are for.

[literaryvein-reblogs]

More Art-Related Vocabulary

Abstract Expressionist: An artistic movement of the mid-20th century emphasizing an artist’s freedom to express attitudes and emotions, usually through nonrealistic means.

Age of Exploration (also, Age of Discovery): From the early 15th century to the early 17th century, European ships traveled around the world in search of new trading routes, lands, and partners to supply an ever-growing European market.

Albumen silver print: A photograph made using a process that was prevalent until the 1890s. The paper is coated with albumen (egg whites), and the image is created using a solution of silver salts.

Brayer: A hand roller used for applying ink to relief printing blocks or occasionally for the direct application of paint or ink to a surface.

Caricature: A representation in either literature or visual art that includes a ridiculous distortion or exaggeration of body parts or physical characteristics to create a comic or gross imitation.

Ceramics: Vessels of clay made by using a variety of shaping techniques and then hardening or firing the clay with heat at a high temperature.

Chasing: A term encompassing two processes in metalworking: (a) modeling decorative patterns on a hand-shaped sheet-metal surface using punches applied to the front, and (b) finishing and refining a cast sculpture.

Classical: Describes a prime example of quality or “ideal” beauty. It often refers to the culture, art, literature, or ideals of the ancient Greek or Roman world, especially that of Greece in the 4th and 5th centuries B.C.

Collage: An art form and technique in which pre-existing materials or objects are arranged and attached as part of a two-dimensional surface.

Color palette: (a) A set of colors that makes up an image or animation, and (b) the group of colors available to be used to create an image.

Composition: The process of arranging artistic elements into specific relationships to create an art object.

Daguerreotype: An early method of photography produced on a silver plate or a silver-covered copper plate made sensitive to light.

Exoticism: Fascination with and exploration and representation of unfamiliar cultures and customs through the lens of a European way of thinking, especially in the 19th century.

Expressionism: A style of art inspired by an artist’s subjective feelings rather than objective or realistic depictions based on observation. Expressionism as a movement is mainly associated with early 20th century German artists interested in exploring the spiritual and emotional aspects of human existence.

Gelatin silver print: A photograph made through a chemical process in which a negative is printed on a surface coated with an emulsion of gelatin (an animal protein) containing light-sensitive silver salts.

Illuminated manuscript: Comes from the Latin words illuminare (to throw light upon, lighten, or brighten), manus (hand), and scriptus from the verb scribere (to write). A handwritten book, usually made from specially prepared animal skins, in which richly colored and sometimes gilded decorations, such as borders and illustrations, accompany the text.

Illuminator: A craftsman or artist who specializes in the art of painting and adorning manuscripts with decorations.

Impressionist: Referring to the style or theories of Impressionism, a theory or practice in painting in which objects are depicted by applying dabs or strokes of primary unmixed colors in order to evoke reflected light. Impressionism was developed by French painters in the late 19th century.

Inking plate: A flat surface used for rolling ink out in preparation for applying ink to a plate or block.

Inscription: A historical, religious, or other kind of record that is cut, impressed, painted, or written on stone, brick, metal, or other hard surface.

Source Art Vocabulary pt. 1

More: Word Lists

[j0eyj0rdis0n]

RAMMSTEIN - Teacher AU: what subject they teach

Okay… I know some of this isn’t very realistic, especially as this takes an American perspective on school. But…

I do what I want lmao

BUT Rammstein as teachers has been infecting my brain for a fat minute now. Ever since I read this one fic on ao3 I’ve been dying. I needed to get this out. And lord knows I have more to say than just this one little imagine post. So if you’re interested, PLEASE let me know. I won’t shut up about it then.

TILL LINDEMANN - Vocational Education

Teaches woodworking, metals, and automotive technology. He does it all so classes are pretty sparse. And hard to get into…

He likes the idea that the kids who are seeking out his classes are the ones who are truly interested in the subject. Especially since his classes are decently difficult to get into.

And honestly being a more specialized teacher, he has more freedom to do as he wishes when it comes to the syllabus and activities done in the classroom.

I mean who else in the school is going to know what to teach in that position besides him?

No one.

So he does as he wants!

He definitely holds extra workshops during his free period or before/after school.

PAUL LANDERS - Band/ Orchestra

He has the degree to teach all sorts of performing arts but he really embraced teaching band and orchestra. He’s always been a music guy.

Very supportive to his students! Always making sure they find the right instrument to play if they’re just starting out.

Or showing them different pieces or artists to keep students engaged and exploring music!

One of the more eccentric teachers of the bunch.

But because of that the students absolutely LOVE him. Like they beg to sit in the band room to eat lunch. (Which is against the rules) but he agrees anyways.

Also sponsors the fall play and spring musical with Flake and Richard. Mainly in charge of the music and band, but definitely helps Richard with the casting and auditions.

CHRISTOPH SCHNEIDER - History/ Social Studies

Rigid exterior, soft when you get through to him. Students either love or hate him. NO in between.

He prefers to teach AP European history, AP World history, or AP Psychology. He likes it when the students are actually there because they’re interested, not because the class is required.

Like I said before, students either love or hate him. So they either avoid him like the plague or they follow him like a cult.

Honestly, he likes his alone time, so he’ll 100% lock his door during lunch time so none of the students who enjoy him will bother him.

Hands out a shit ton of homework.

Also has no patience or sympathy for troublemakers. He looks like he got two hours of sleep the night before, don’t test him.

FLAKE LORENZ - Visual Arts

Teaches basic arts classes like 2D arts, and 3D arts. But he also delves into the more complex classes like AP drawing/painting, advanced ceramics, and AP art history.

He likes each class for its own reasons, but his favorite is advanced ceramics. He loves the freedom and loves seeing all the interesting designs and pieces the students make.

Also, just like Schneider and Till, he likes that the classes besides basic 2D and 3D arts are sought after because the students actually take interest in the subject matter

Definitely the kind of teacher who fosters a calm environment. Students are allowed to wear headphones but no music playing out in the open.

More often than not sits beside his students and works on pieces of his own!

He also works closely with Paul and Richard when it comes to the school plays and musicals. He helps make backdrops and props. Definitely groans and moans about it, but in the end he loves seeing his work on the stage. Even if it’s on an incredibly amateur level.

RICHARD KRUSPE - Language arts and English

Teaches English language classes, advanced creative writing, speech, and AP literature and composition. Yeah he forced some other unlucky teacher to take on the basic creative writing classes.

He didn’t want to deal with the dumb brats who can’t write or spell. Fuck them kids.

He enjoys speech and English the most, he definitely likes the way the kids squirm when they’re forced to stand up front and speak.

Not a big fan of homework. He honestly neglects grading so he just makes it easy and gives out a one page worksheet, nothing crazy.

Helps with casting and oversight with the students in the plays and musicals. He enjoys helping with lines and memorization!

OLIVER RIEDEL - Buisness/ Computer classes

Teaches intro to business, personal finance, AP business management, and typing/basic computer applications.

He likes that it’s decently laid back. That if there’s a problem, there’s always an answer. Press the “A” key and “A” will appear. You know?

Questions in his class are pretty self explanatory and the guides he gives for the students to work through, aren’t too hard at all.

It’s decently hard to not pass his class.

I mean… shit… there’s no homework. None.

He’s pretty reserved, so it’s not often students talk to him for anything besides questions. Which for the most part he doesn’t mind. But when there’s that one rare student who actually gives a shit about how his day is going, it definitely makes him smile.

[whencyclopedia]

Edgar Degas

Edgar Degas (1834-1917) was a French impressionist painter who used many different media to capture dancers, bathers, horse races, and scenes from Parisian café society. A keen photographer, Degas' paintings frequently show real-life captured in a moment in time, often with an unusual viewpoint, composition or framing – all of which techniques would prove influential on later artists.

Early Career

Hilaire-Germain-Edgar De Gas (better known simply as Edgar Degas) was born on 19 July 1834 in Paris. His parents were wealthy bourgeois who specialized in banking. Edgar's father, Auguste, was half Italian and half French while his mother, Célestine Musson, was an American Creole of French descent from Louisiana. Young Edgar studied at Paris' Lycée Louis-le-Grand, earning his baccalaureate in literature. In a family already rich enough but with aspirations to climb even higher socially, Edgar was encouraged to become the accomplished and fashionable young male of the period and to formally study art and music under various tutors. He also began to study law, but it soon became clear that art was his true path.

In 1855, Degas enrolled in the École des Beaux-Arts in Paris. He studied and copied the Old Masters in the Louvre, and in July 1856, he went to see firsthand the Renaissance art of Italy on a tour which took in Florence, Rome, Naples, and Venice. He sketched the art of antiquity, Renaissance works, local colour, and he produced his first great painting, The Bellelli Family, while staying with his aunt Laura Bellelli in Florence in 1858.

Back in Paris, Edgar was tutored by Louis Lamothe (1822-1869) and then Nicolas Soutzo (1834-1907). This traditional artistic education led the young Degas to try and become a historical painter, that is an artist who depicts grand religious or historical scenes like the great Renaissance artists had produced. Examples of his work in this genre, which share a frieze-like presentation of the subject, include Young Spartans Exercising and Semiramis Building Babylon, both painted around 1861. Not untypically, Degas continued to work on the Young Spartans in subsequent years.

Portraits were another avenue he explored, and here the artist had more success in achieving his aims. Interested in giving his work a psychological element and depth, Degas often painted double portraits where the attitudes and emotions are shown markedly different between the two people in the painting. A recurring feature of Degas' portraits is the use of a painting within the painting. Like Renaissance artists who used objects as symbols that might convey more depth of meaning to a knowing viewer, Degas often included a notable painting that comments on the personality of the person being portrayed. However, it was another historical epic, Medieval War Scene that first got him noticed by the jury of the Paris Salon in 1865.

Eventually dissatisfied with the limitations of being too tied to the past or perhaps sensitive to the changes in contemporary art, Degas would turn instead to capturing everyday life as it happened in the circles he was most familiar with: bourgeoise Paris. His first work which shows this transition, and yet in which he still maintains a link to the historical painting style, is Mademoiselle Fiocre in the Ballet 'La Source'. The work was exhibited in the Paris Salon of 1868. The artist was about to fully move into modernity for his subjects, but Degas' long immersion in classical art and the more recent Neoclassicist artists like Jean-Auguste-Dominique Ingres (1780-1867) would have a lasting effect on the importance he gave to drawing, form, and composition, as well as the prominence he gave to the female nude. As Ingres had told Degas: "Draw lines, young man, many lines" (Howard, 42). This focus meant that Degas was probably the superior draughtsman of all the impressionist painters of his generation, a point noted by many critics.

Continue reading...

[dionysus-complex]

you mentioned you specialize in roman violence. can you rec any good works on the subject, especially during the late antique period? how much (or little) time/writing did latin authors spend on the question of the necessity/morality/glory of violence, especially when bound up with empire and borders? did rhetoric around domestic violence evolve?

It's obviously a massive topic, so it's difficult to know where to begin! For looking at violence in Late Antiquity, I highly recommend the work of Maijastina Kahlos as a starting point - most of her scholarship deals with tensions between religious communities in the Roman Empire in Late Antiquity, and I've found it extremely clear and illuminating. For Late Antique slavery, I'd look at Jennifer Trimble's work, especially "The Zoninus Collar and the Archaeology of Roman Slavery" (2016, JSTOR link here). On the intersections of violence and the legal system, I'd recommend Sarah Bond's 2014 article "Altering Infamy: Status, Violence, and Civic Exclusion in Late Antiquity" (JSTOR link here) as well as Julia Hillner's 2015 book Prison, Punishment and Penance in Late Antiquity. Amy Richlin is essential reading on Roman violence in general, and I'd highly highly recommend her piece "Cicero's Head" in Constructions of the Classical Body (ed. James Porter, 1999) if you have access to an academic library and can get a hold of it; it's explicitly framed as a Jewish, post-Holocaust reflection on the violence of the Roman proscriptions and civil wars and has been profoundly influential on my own thinking.

In general, Imperial-era Latin authors spend a lot of time thinking about the necessity/morality/glory of violence, to the point that I'd say violence is the key theme in Imperial Latin literature. It's often bound up with Stoic philosophy (in the 1st-2nd c. CE; Seneca's De Ira is a key text - you might take a look at sections 3.18-19 on torture under Caligula), and given the bias of our sources which skew toward the elite/senatorial-class perspective, it can be harder to track down texts that explicitly make the link between violence and Roman imperium. One famous example is the speech of Calgacus in Tacitus' Agricola 29-32 (link to a translation here), which purports to be the speech of a Celtic general in Britain rousing his troops to battle against the Romans in the 80s CE. Given that speeches in Roman historiography are generally regarded as being compositions by the historian, it's important to ask why exactly Tacitus of all people gives a prominent place to a scathing critique of Roman imperium - there are lots of ideas on this and few definitive answers, but it's a startling passage to say the least.

Imperial Latin epic poetry (e.g. Lucan's Bellum Civile; Statius' Thebaid) is well known for being graphically violent in the extreme (as in brutal torture, dismemberment, and one infamous instance of brain-eating in Thebaid 8), and there's a lot of work on how and why violence becomes highly aestheticized for Imperial Latin poets. There's also the genre of Roman declamation (difficult to explain, but essentially something like mock trial cases that were used for rhetorical education and showmanship), which frequently explores extremely violent scenarios involving torture, kin-killing, etc. Most scholars these days tend to read declamation as a space where (elite, male) Romans worked out and interrogated various cultural anxieties and taboos. Because of this, you get some of the strongest condemnations of violence found anywhere in Latin literature in the declamatory corpus, but it's difficult to extrapolate from that because again it's something like mock trial and rhetorical showmanship that does not necessarily map on to real-life Roman attitudes.

I've barely scratched the surface and there's a lot more I could say but I'll cut myself off here - I might be able to offer more specific recs if you're interested in e.g. violence as spectacle, aesthetics and artistic representations of violence, etc.

[artsandculture]

Saturn Devouring His Son (1819-1823) 🎨 Francisco de Goya 🏛️ Museo del Prado 📍 Madrid, Spain

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must have been mixed technique, as chemical analysis reveals the use of oils in these works. The Baron Émile d´Erlanger acquired “la Quinta” in 1873 and had the paintings transferred to canvas. The works suffered enormously in the process, losing a large amount of paint. Finally, the Baron donated these paintings to the State, and they were sent to the Prado Museum, where they have been on view since 1889.

Saturn devouring one of his sons is one of the most expressive images from his Black Paintings. It occupied the wall across from Leocadia Zorrilla on the ground floor of “la Quinta del Sordo.” This mythological god could be the personification of such a human feeling as the fear of losing one´s power. The mural paintings from “la Quinta del Sordo” (the Black Paintings), have been determinant in the modern-day consideration of this painter from Aragon. The German Expressionists and the Surrealist movement, as well as representative of other contemporary artistic movements, including literature and even cinema, have seen the origins of modern art in this series of compositions by an aged Goya, isolated in his own world and creating with absolute liberty.

[puddingyun]

Hi sweetie 🥰

After reading the prompts i would like to ask for hongjoong

"there are some things that no one teaches you, love."

Thank you so much

Have a wonderful day/night

❤️

joong x reader

: 1.3k words, fluff, domestic :

a/n: thank you for the request! ah i really loved writing this (╥ᆺ╥；)♡ i hope you have a lovely day/night as well! ˚ʚ♡ɞ˚

Hongjoong had been learning all his life. First the alphabet and all the different sounds that animals made, lessons that carried the smell of apple juice-boxes and the sound of building blocks tumbling down. Then literature and algebra, formulas for essays and equations that he'd long since forgotten in lieu of the memories of studying them, powered by energy drinks and instant ramen. Most recently came the ins and outs of music, composition and writing, subjects that were infinite and that he would no doubt go on learning about for the rest of his life. 

All the different things he'd learned over the years had come in stages and all carried with them their own special shine, holding special spaces in his brain like boxes full of beloved bric-a-brac stacked in the sunlit corner of an attic. The other kind of lessons came and went with his experiences – how to show his friends he loved them, how to move past disappointments without lingering for too long, how to keep himself from burning out. These were things that came without a learning system, things that advice and his own sore heart had taught him. Regardless of how the lessons came about, he was sure for a time that he had learned all he needed to get by. That was, until he met you.

No classroom and chalkboard had taught him how his heart would skip a painful beat when he saw you smiling or laughing. No late night talk with his brother or mother had warned him to watch out for how he'd ache when he caught you trying to learn the recipes for his favourite foods. No lecture or book held the knowledge of how to deal with the urge to call you at random times of the day to tell you about an oddly-shaped stain on the pavement or the way the sun shone through an overcast sky. 

There seemed to be so much to you. You were vaster than the space beyond the Earth's atmosphere and deeper than the Mariana Trench, holding in every blink of your eyes more knowledge than every encyclopedia and research paper combined. If he could, he'd watch you for the rest of his life, casting aside everything else he'd learned so that he could learn the secrets of the universe just from being in your presence. 

Waking up beside you on a Sunday morning, Hongjoong felt the first breath of the day get caught in his throat when he turned over and saw you laying beside him. The skin beneath your eyes was speckled with mascara from the night before and you were still wearing the jewellery you'd worn out to the bar (a ring your best friend had given you as a graduation gift and a necklace he'd given you last Valentine's, a pairing of the two people you loved most you'd told him when you were putting them on). Slowly, so as not to disturb you, he pushed himself upright and reached out to touch your forehead with a shy knuckle. The action reminded him of a priest baptising a child, but he was surprised as always by how he felt as though he was the one being blessed by you rather than the other way around.

He padded through your apartment, taking note of his possessions scattered around on every surface. Some of his bracelets left next to your house keys in the bowl by the door, a few notebooks nestled among your collection of novels. In the kitchen his favourite mug was upside down next to yours, drying by the sink in a pool of water, and when he glanced at the coffee table he saw his hoodie left on the loveseat, worn by him and used as a blanket by you when you fell asleep watching TV. All of these items seemed to him like displays in a museum, so amazing that he hardly viewed them as real objects. He smiled and let out a soft, awed breath.

After the cocktails and beers you'd shared last night he wasn't sure you'd want breakfast this morning, but still he went about making coffee and slicing bread for toast. He'd make you breakfast every morning if he could and would never complain if you didn't take a single sip or bite. He was satisfied just at the thought of putting food on your table for you to eat, satisfied that he knew how many sugars you liked in your hot drinks and satisfied that you liked to brag to your friends that he knew just how much butter to put on your toast. Nobody had taught him these things, nobody had quizzed him on them, and yet they carried the weight of the world in a way that nothing else did.

He hummed softly as he put out two plates on the counter, the morning chill inviting goosebumps to rise on the skin of his forearms. Steam rose from the coffee as he filled your mug and then his (always yours and then his) and he bathed in its warmth like it was steam in a sauna. He had been through this routine many times, making coffee for his group members the morning after a harrowing schedule and soaking in the silence of an apartment before the day began, but standing in your kitchen it all felt brand new. The view from your window, as mundane and familiar as it was, still seemed awe-inspiring as he watched passerbys going about their lives. He wondered where they were heading, and if any of them knew all of the things he'd learned from being with you.

Buttering toast and tipping teaspoons of sugar into mugs of coffee, Hongjoong found himself sinking further and further into the quicksand of his life with you and never once felt the need to struggle against its pull.

Your figure filled the doorway to the living room just as Hongjoong set down your two mugs of coffee on the table. A smile played on your lips, eyes still sleepy as they watched him walk towards you. Without a word he wrapped his arms around you, both of you swaying languidly from side to side, dancing to music that nobody else could hear. You smelled of toothpaste, lingering perfume, and salty lime wedges. He breathed you in like he was coming up for air. 

"How'd you sleep?" he asked, smoothing a hand over the top of your head. You hummed softly, leaning into his touch.

"Like a rock," you answered, kissing his chin. He smiled at the feeling of your lips on his skin, knowing he'd carry it with him for the rest of the day, his wandering fingers always coming back to touch the first spot you'd kissed that day. "What about you?"

"Just fine," he mumbled.

The two of you parted, though your fingertips lingered on the small of Hongjoong's back the way he'd learned they loved to do. You saw the coffee and toast on the coffee table and smiled once again, this time laughing softly. Leaning into him, you kissed his cheek with a smile still on your lips. 

"Smells amazing," you hummed. Hongjoong followed you as you threw yourself onto the couch, landing with a happy sigh. He sat beside you and watched as you took your first bite of toast and then your first sip of coffee. He sat and watched you while his own coffee cooled, eyes taking in everything from the way you licked crumbs from your lips to the way you breathed in the smell of the coffee before you drank from it. Everything was endearing in its own way, and he noted each and every action down to keep with him. He pressed a kiss to your temple and thought to himself how appropriately named the warm spot on your head was – temple. 

He looked at your empty ring finger curled against your mug and wondered when it would be right to put his impression there. Just like everything else, he supposed he'd figure it out in time. Maybe love just wasn't something meant to be taught.

[tanadrin]

I'm curious about what subjects in secondary school people found most useful in retrospect, but "useful" here just means "I'm glad I learned it." I'm not (necessarily) interested in what skills people think made them most employable, or which subjects feel most prestigious, unless employability or prestige are things about yourself you personally value highly, and which you think a high school class helped with.

Unfortunately for space reasons the options are necessarily condensed, and kind of arbitrarily, but this easily could have been a 30-option poll if Tumblr permitted it. But if you feel like it, please specify or elaborate in the notes. "Languages" includes both ancient languages like Latin, and modern languages, including modern languages with a small number of speakers like Irish. Since this is a poll about whether the class was useful, if you ended up learning a language that you took a class in, but you feel the class itself did a poor job teaching you the language or its basics, pick another subject. For space reasons I had to condense some options; if you chose "algebra or trigonometry," for instance, please feel free to specify in the notes which one. This would be especially useful for a music or art class.

[pmamtraveller]

A YOUNG GIRL PLUCKING A WHITE SWAN /1899/ by ANNA ANCHER

The composition is simple yet effective, with the girl seated, and is busy with the careful task of plucking feathers from the white swan in a room. Her eyes really focused on the swan, which creates the intimacy between the two subjects.

The swan has a deep symbolic meaning in art and literature, often representing purity, grace, and transformation. Here, one can only perceive the act of plucking the swan as the loss of innocence or transition from childhood to adulthood.

Though apparently simple, this artwork reflects emotional depths. The girl's focused expression and the swan's passive demeanor suggest a moment of quiet contemplation or perhaps a ritualistic act. Ancher was able to capture minute details: from the texture of the swan's feathers to the folds in the girl's clothing. Details such as these give a feel of realism to the painting itself.

The painting uses a muted color palette dominated by soft shades of white, grey, and earth tones. These colors further contribute to the tranquility of the entire scene and add to its overall harmony. The composition is a testament to Ancher's ability to catch the small things in life and nature.

[milksockets]

Literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes.

The Death of the Author - Roland Barthes

[fanhackers]

Back to school edition: “So you want to be a Fan Studies scholar?” (aka "My 2¢, YMMV")

As a professor, I often supervise undergraduates who are interested in fan studies topics, often as independent studies or senior theses. Some of these students want to go on to do graduate work in fan studies–but that can be complicated, because fan studies is such an interdisciplinary subject. So I ask them: do they just want to continue studying fandom in an organized way, or are they considering grad school because they actually want to get a job / earn a living as a scholar or teacher? Let’s ignore the state of the market in higher ed (many ugh, much gross) for the moment, and talk purely about the intellectual issues involved in studying fandom.

Like, for instance, there really aren’t fan studies departments per se (and few institutions even have television studies) and hiring is still overwhelmingly a departmental thing. (That’s changing, but academia isn’t known for its lightning-fast pivots.)  So what department would you looking to be hired into?  Students often don’t know–they like literary study, they like media and communications, they like television and film, they like anthropology.  So I ask them the question another way: if you got hired as a professor, what introductory courses do you think you’d enjoy teaching? Are your bread and butter courses going to be, say, Intro to British Literature I and II or Media and Society? Or maybe it would be Intro to Anthropology or Intro to Film Studies. Maybe it would be some form of Rhetoric and Composition.  It might also be Intro to Marketing–some of the people most interested in fandom studies are business or economics professors, looking to better understand consumer behavior.  

But the larger point is: few professors get to teach their exact areas of specialization all the time, and most professors teach one or more of their department’s intro courses. (You might also end up teaching high school: how does your fan studies interest overlap with a high school’s curricular needs?) So don’t just think about your research interest when you’re considering graduate schools and departments: think about how your research interests fit into and overlap with the broad knowledge base that you’ll need for a degree and a career. 

–Francesca Coppa, Fanhackers volunteer

[mrs-nesmith]

Ya'll bitches who watched Masters of The Air?? Our boys Cleven and Crosby went WILD in academics.

Buck:

"After the Second World War, Cleven stayed in the US Air Force serving in Korea, Vietnam and with a spell at the Pentagon. He retired in 1964 with the rank of Colonel. While in the service Cleven had earned an MBA from Harvard Business School and a doctorate in physics and following retirement initially worked in IT for Hughes Aircraft. Later he took over the management of Webber College in Florida which at the time had only fifty students and a poor reputation. He was able to turn it around and it later became a university specializing in business studies. " - Gale Winston Cleven | American Air Museum IM SORRY A FUCKING DOCTORATE IN PHYSICS???? COLONEL. DR. GALE WINSTON "BUCK" CLEVEN???? Croz:

"On returning to the US, Crosby resumed his studies, completing his M.A. in 1947 and his PhD in 1953. He taught English composition, writing several books on the subject. He also carried out work for the US Air Force Academy and the Pakistan Air Force Academy. In 1993, Harper Collins published his memoir of his wartime experiences, titled A Wing and a Prayer." - Harry Herbert Crosby | American Air Museum

"Returning to school, Crosby graduated from the University of Iowa in 1947 with his master's degree, and then earned his PhD from Stanford University in 1953, where Wallace Stegner supervised his dissertation. Harry taught English composition and American literature at the University of Iowa, and was the Writing Supervisor of the Rhetoric Program (1950–1958).[2]

In 1958, Crosby moved with his wife and four children to Newton, Massachusetts, for a faculty position at the College of Basic Studies (CBS) at Boston University. He retired from Boston University in 1984, after chairing the Department of Rhetoric at CBS and authoring or co-authoring with CBS colleagues six textbooks on college writing:[2]

College Writing – The Rhetorical Imperative; Harper & Row, 1968 Just Rhetoric, Crosby/Esty; Harper & Row 1972 The Shape of Thought: An Analytical Anthology, Bond/Crosby; Harper & Row, 1978 Building College Spelling Skills, Crosby/Emery; Little Brown; 1981 Better Spelling in 30 Minutes a Day, Crosby/Emery; Harper Collins 1994 Skill Builders – A Spelling Workout, Crosby/Emery; Harper Collins, 1997

During his early retirement, Crosby served as Director of the Writing Center at Harvard University." - Harry Herbert Crosby - Wikipedia CROZ GRADUATED FROM FUCKING STANFORD, A PHD TOO!!! in conclusion, these boys are academic weapons P.S. Croz's Autobiography in case any of ya'll were interested: Amazon.com: A Wing and a Prayer: The "Bloody 100th" Bomb Group of the US Eighth Air Force in Action Over Europe in World War II: 9781504067331: Crosby, Harry H.: Books and a list of libraries it's in across the world: A wing and a prayer : the "Bloody 100th" Bomb Group of the U.S. Eighth Air Force in action over Europe in World War II | WorldCat.org

Mostly USA but as of (5/29/24 or 29/5/24) there are

457 in USA 8 in Canada 1 In Ireland (Dublin) 35 in UK

if you chose yes^ feel free to dm me/send an ask with facts or stories you find and i'll try my best to post them!! (you can send pictures with too!! my discord is badger_iii)

[the-whispers-of-death]

What does everyone else already teach? 🫧

Gaz teaches Creative Photograph 1 (which is just using cameras with film), Soap teaches 2D Studio Art 1 & 2 (so basic studio & advanced studio art), Price teaches World History, Stone teaches U.S. History, Kali teaches Chorus, Ladder teaches IT Systems and Applications, Sarabi teaches AP English Literature and Composition, Nala teaches Personal Fitness, Simba teaches Pre-Calculus, Heartthrob teaches Nutrition & Wellness, and my newest OC teaches Environmental Science.

I don't mind if Ghost teaches the same subject as someone else because there's different classes within each subject that can be for different grades (hence why Price and Stone are both teaching history classes). I just need a subject.

[leapyearforever]

Book Of Japanese Tattoo Designs

Japan, 1880-1910

A rare book of hand-painted tattoo designs made for Western clients, Japan, 1880-1910. Watercolor on silk, accordion-folded pages,

One of the few books of Meiji-era Japanese tattoo flash known to survive. Its silk pages are painted with a spectacular array of designs—bearded dragons, snakes, geishas, and heroes and immortals riding plunging, soaring beasts—truly some of the finest and earliest flash in existence. The book's route to Northern Ireland, where it recently came to light, is shrouded in mystery, but its construction and subject matter align with a small body of documented flash painted by Japanese tattooers for Western clients. Its anonymous artist painted in a precise style reminiscent of the famed Japanese tattoo master Hori-Chiyo, and was likely an equally-skilled contemporary working in Japan during the same period.

Following the opening of Japan in the 1860s, wealthy Western tourists flocked to the previously reclusive nation. There they were captivated by the lush, dynamic, full-body compositions of traditional Japanese tattooing on the local artisans, laborers, and service people they met in their travels. Acquiring the exotic, transgressive body art—and undergoing the long, painful, and costly experience of being hand-tattooed by a Japanese master—became a status symbol for the first wave of moneyed Western globetrotters. However, when the Japanese government banned the tattooing of its citizens in 1872, Japanese tattoo artists adapted their traditional practices to better suit the tastes and imperatives of the growing crowds of their Western patrons.

Smaller tattoos accommodated sailors' and travelers' limited time and funds, and a design repertory of cranes, lizards, cats, bats, and other animals—largely detached from their original symbolism—replaced larger, heroic scenes of warriors, comic figures, and gods of popular Japanese literature and art that had so enriched traditional Japanese tattooing. This book's preponderance of small designs exemplify this adaptation to a Western audience.

By the 1890s, several Japanese tattoo artists opted to take their skills directly to their clientele, traveling and setting up shops in Europe, Great Britain, America, and Australia, often generating headlines along the way. Perhaps this book of tattoo designs was carried to the West by such an itinerant artist, became separated from its owner, and passed from hand-to-hand as a beautiful and exotic curiosity.

[facet-foundations]

do you also do lists of hobbies one could get into,,,

Absolutely! (We can try, at least TwT)

Sports (e.g. Football, basketball, badminton, rugby, tennis, golf, fencing, athletics, cricket, hockey, baseball, gymnastics, or swimming)

Photography

A Tumblr blog for requests (e.g. build-a-headmate blogs, userbox/blinkies, simply plural/pluralkit layouts)

An instrument, like violin, piano, flute, recorder, cello, saxophone, clarinet, drums, harp, oboe, accordian, guitar, viola, bassoon

Singing

Dancing

Lyric writing

Just generally writing

Music composition (Musescore 3 and Bandlab are both pretty good and free)

Photography

Art of any kind, like traditional/digital, sculpting, arts and crafts, painting, origami!

Gardening

Reading

Cooking

Baking

Studying a subject you're interested in (some possibilities: Maths, Literature, Physics, Chemistry, Music, Languages, Film Studies)

Watching films/TV shows

Video gaming

Content creation

Start a collection of something, anything from bottlecaps, plushies, postcards, stamps, bookmarks, coins, pressed flowers, notebooks, swords, figurines, crystals, vintage items like clothes or toys, comic books, trading cards, vinyl records, seashells and more!

These can be done in or out of the headspace!

Thanks for your request!