#° subject ／ literature and composition.

[talonabraxas]

Shiva and Uma from a set of modern Nyingmapa tsakli (initiation cards). Umapati is the form of Lord Shiva where he is depicted as the consort of Goddess Uma, also known as Parvati. This form emphasizes the harmonious union of masculine and feminine energies and the ideal of divine partnership.

Umapati, meaning "Lord of Uma" (another name for Goddess Parvati), is a revered form of Lord Shiva that symbolizes the divine union of Shiva and Parvati. In this form, Shiva is portrayed as the devoted husband of Parvati, highlighting the complementary relationship between the masculine and feminine principles in the universe. Umapati represents the ideal of a balanced and harmonious partnership, where Shiva and Parvati together embody the cosmic balance of power, compassion, and wisdom. This form is particularly significant in Hindu mythology as it underscores the importance of marital unity, devotion, and the spiritual partnership between the divine couple. Umapati also symbolizes the inseparable bond between Shiva and Shakti (the divine feminine energy), which is central to many philosophical teachings in Hinduism. This form is often invoked in prayers and rituals seeking blessings for marital harmony, family well-being, and spiritual balance.

Iconography:

In the Umapati form, Shiva is often depicted alongside Goddess Parvati, emphasizing their divine partnership. Shiva is usually portrayed in a calm and composed posture, with Parvati by his side or seated on his lap, symbolizing their unity. He is shown with his traditional attributes such as the crescent moon on his head, the third eye, and the snake around his neck. Parvati is often depicted with a gentle and nurturing expression, complementing Shiva’s serene demeanor. Together, they are shown as an ideal divine couple, embodying the perfect balance of power and grace. Sometimes, they are depicted with their children, Ganesha and Kartikeya, representing the divine family unit. The iconography of Umapati also includes elements like the Himalayas in the background, symbolizing the abode of the divine couple, and the presence of Nandi, Shiva’s bull, representing strength and devotion.

Symbolism and Significance:

Umapati holds deep symbolic meaning in Hindu tradition, primarily representing the ideal of divine partnership and the balance of masculine and feminine energies. This form underscores the importance of marital harmony, where Shiva and Parvati together embody the unity of opposites—Shiva as the ascetic and destroyer, and Parvati as the nurturing mother and creator. Their union represents the integration of spiritual and material aspects of life, emphasizing the need for balance in both worldly and spiritual pursuits. Umapati is also significant in the context of family life, as their relationship is seen as an exemplar of mutual respect, love, and devotion. Worshiping Umapati is believed to bring blessings for marital bliss, family harmony, and overall well-being, making this form of Shiva highly revered among devotees.

Cultural and Artistic Depictions:

Umapati has been a popular subject in Indian art, literature, and temple architecture. This form of Shiva is depicted in numerous sculptures, paintings, and temple reliefs, particularly in South India, where the worship of Shiva and Parvati as a divine couple is prominent. In temple iconography, Umapati is often depicted in the company of Parvati, sometimes with their children, in scenes that reflect domestic bliss and divine love. These depictions can be found in the intricate carvings of temples like the Meenakshi Temple in Madurai and the Brihadeeswarar Temple in Thanjavur.

In addition to visual art, Umapati is celebrated in classical dance forms like Bharatanatyam and Kathak, where the relationship between Shiva and Parvati is explored through expressive storytelling and dance. The divine couple is also a central theme in many devotional songs, hymns, and poetic compositions, where their love and unity are extolled as ideals for human relationships. Through these cultural and artistic depictions, Umapati continues to inspire and guide devotees in their spiritual and personal lives, reinforcing the importance of love, unity, and balance. The Shiva and Uma (Parvati) mantra: "Om Uma Maheshwaraabhyaam Namah", This mantra is believed to invoke the qualities of their relationship, such as unconditional love and understanding, and can be used to promote harmony and balance in one's own life. 

[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

[yingdu-lover]

ok so just saw that people have already applied Aristotelian ethics, Kant's philosophy (idk much about this) and other theories (haven't studied but will definitely check out) to analyse link click and its characters

my theoretical approach to link click can be summarised as (not an exhaustive list)

1. Existentialism

2. Absurdism (they are not same)

3. Stoicism

4. Bakhtinian philosophy

5. Foucault

6. Queer-feminist political theory (socio-cultural and artistic representation in South and South East Asia)

7. Postmodernism

8. Poststructuralism

All of these are related. The list of 'isms' and complex theories may intimidate someone at first, but in reality link click becomes very easy (in terms of the vision and significance) to understand. I remember a link click yingdu post that had Roland Barthes 's quotes

oh i found it!

Roland Barthes is a famous post-structuralist (cultural) theorist. One of my absolute favourite 'authors' (iykyk). He is AMAZING!

Writing is that neutral composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body of writing

Oh, Barthes.

He is not. talking about. writing. only.

Apart from literature, he talks about movies, photographs and a lot of other things you would not expect 'culture' to be preserved, emerge or evolve.

anyways-

to me, link click exploits sensuality of the image, still or moving.

for a show that is very 'metaphysically rich,' it treats physicality with equal importance.

If you urge Lu Guang to write an 'ode to death,' he would not miss the body horror, the intimate physical experience of agony when your senses are rendered irrational. and 'death' itself does not mean 'physical death'. That line from 'the eye'

And the clock tower bell only struck nine

or the original Chinese version which says

The clock tower bell struck nine times

'nine' is significant here

this is an excerpt from ts eliot 's famous poem, 'The Wasteland'

Unreal City. Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. Flowed up the hill and down King William Street, To where Saint Mary Woolnoth kept the hours With a dead sound on the final stroke of nine.

in this poem 'nine' symbolises Christ's death. Basically, the modernist post-war gloom that associates lack of vitality to the 'unreal city'

this scene gives me chills~

and 'nine' also has positive(?) mystical and spiritual symbolism in South East Asian cultures.

okay okay this reminds me of a post i wanted to- ok I will)

(this is just incoherent blabbering)

one of the strongest points about link click is that, it is not pretentious.

it knows what it can show. it shows what it wants. clarity of vision is something even many famous productions lack. horribly lacks.

ok i lost my track I forgot what i was going to say, um.

hyperfixate, cry and theorise. this should be the motto of lcf (it probably is already)

[hallowedhaunting]

Tagged by @hekateinhell! tysm🫶

What’s the origin of your username?: I was trying to come up with a memorable enough username that would fit The Vibe because I originally wanted this to be an art account, then proceeded to not post art for two years lol. I wanted something that had a motif of both religion+horror since I tend to make (original) art around that concept. Also a primary reason I love The Vampire Armand

OTP(s) + ship name: Anything involving Armand (except Bianca sorry queen I’m just heterophobic). Especially Armand/Daniel… but TVL Lesmand has a grip on me too………………… and Venice era……………………………………. Prior to Armand I was obsessed with Usami/Tsurumi from the Golden Kamuy manga and Ash/Eiji from Banana Fish lol

Favorite color: Black and red!

Song stuck in your head: I have been listening to Rosegarden Funeral Party lately, but especially their song Follow. It is so early Devil’s Minion coded to me! 

I have also been listening to Secret Shame's discography quite a bit

Weirdest habit/trait: Probably that I talk to myself constantly when I’m alone (like full on animated conversations). I had to curb this in college because I’d constantly misjudge when my roommates were home 😭 remnants of a highly isolated childhood lol

Hobbies: Drawing, writing, music composition, playing piano + singing, finding and altering vintage fashion+furniture, fashion in general…….

If you work, what’s your profession?: I am a piano teacher!

If you could have any job you wish, what would it be?: Hmm, probably to be a writer or artist! Though I know the realities of doing those professionally would be far less rewarding than painting Renaissance figures as Armand

Something you’re good at: Baking!

Something you hate: Minimalist interior design (or what I like to call grey box houses). I have a physical revulsion response when I see it

Something you collect: Lately hardcover books! I have a custom hardcover of The Vampire Armand ❤️. I also have a hardcover of Cry to Heaven by Anne Rice!

Something you forget: Genuinely everything lol my best friend remembers my life better than I do

What’s your love language?: Hah I’ve never thought about this for myself but I certainly show love to others through acts of service!

Favorite movie/show: …I don’t watch enough television to have an answer for this 😭. (Feel free to recommend shows or films— I am trying to change this!) I am constantly reading, though, and my favorite books are East of Eden by John Steinbeck, The Crimson Petal and the White by Michel Faber, Cry to Heaven by Anne Rice, and of course The Vampire Armand ❤️

Favorite food: Any kind of curry

Favorite animal: Cats! But I love all animals and insects (especially moths and beetles)

What were you like as a child?: My childhood nickname was terremoto (earthquake) if that says anything lol. My church also had my photograph on the wall because I had so much scripture memorized at such a young age. #scripturewarrior

Favorite subject at school: Literature

Least favorite subject: I was so extraordinarily bad at math I got put in the special ed class for algebra 

What’s your best character trait?: Likely my positivity and optimism. I am generally a very cheerful person. I am also incapable of judging others which is in some ways a positive trait and has gotten me into some terrible situations otherwise lol

What’s your worst character trait?: I have categorically lacked self-respect throughout my life. I’m working on it 🫡

If you could travel in time, who would you like to meet?: Extremely recent history, but I am a bit too young to have done this in my own life– I would have LOVED to talk to Anne Rice about her work. As a person she fascinates me. I would also love to meet a distant female ancestor, especially one from prehistory

I tag @relicsofasaint and anyone else who’d like to do this! 🫶🫶

[reyaint]

the academy | looks

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date: march 16, 2025. i slept through the storm

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✧˖*°࿐ The Exterior

𓂃༊ Veltrius Lumos Academy’s campus is a harmonious blend of classical elegance, modern innovation, and natural beauty. the school’s design draws inspiration from historical universities, sleek contemporary architecture, and rich organic elements like wood, stone, and glass. every corner of the campus has a sense of purpose, aesthetic appeal, and prestige, creating an environment that encourages both learning and personal growth.

𓂃༊ the campus is vast but interconnected, with stone pathways lined with lanterns, ivy-covered buildings, and wide-open spaces for students to relax and socialize. natural lighting is a key feature across the campus, ensuring that classrooms, libraries, and social spaces feel bright, airy, and inspiring.

✧˖*°࿐ The Rooftop and Garden

*ೃ༄Rooftop

𓂃༊ the rooftop garden is a hidden gem of Veltrius Lumos Academy, providing a peaceful retreat above the city. designed to be both aesthetic and functional, this space is used for relaxation, quiet study sessions, and small social gatherings.

𓂃༊ the rooftop garden offers a quiet escape, with vines creeping along the railings, comfortable seating areas, and a view of the city skyline

*ೃ༄Garden

𓂃༊ the gardens are lush and immaculately maintained, featuring a grand stone fountain at the center, stone pathways, and benches for relaxation.

✧˖*°࿐ The Greenhouse

𓂃༊ the greenhouse complex is expansive and serene, consisting of multiple glass-paneled structures framed with wood and stone. hanging plants drape from the ceilings, and stone pathways wind through exotic flora, medicinal herbs, and student-grown botanical projects.

𓂃༊ a small water feature runs through one of the largest greenhouses, creating a peaceful ambiance. This space is used for biology classes, plant studies, and quiet study sessions.

✧˖*°࿐ The Entrance

𓂃༊ upon entering the academy, students are greeted by a breathtaking glass-ceiling walkway, allowing natural light to pour in. ivy drapes over elegant archways, and potted greenery lines the sides, enhancing the academic and tranquil atmosphere.

𓂃༊ marble and dark wood details give the entrance a classic academia feel, while sleek, modern lighting fixtures illuminate the space at night, casting a warm golden glow. the entrance immediately establishes the prestige of Veltrius while maintaining a welcoming, inspiring aura.

✧˖*°࿐ Hallways

✧˖*°࿐ Bathrooms

✧˖*°࿐ The Classrooms

𓂃༊ the classrooms vary between high school and college-style, with some featuring tiered seating, and others structured for roundtable discussions. most have large windows, allowing in ample natural light, with rich wood paneling, deep-colored walls, and elegant yet modern furniture.

𓂃༊ each classroom reflects its subject—literature classes have ornate bookcases, science classrooms have sleek lab stations, and philosophy or history classrooms are adorned with historical maps and framed classical artwork.

*ೃ༄Science Lab

*ೃ༄Classrooms

✧˖*°࿐ The Art and Music Studios

*ೃ༄The Art Studios

𓂃༊ art studios are expansive and filled with natural light, with paint-splattered wooden floors, massive canvases, and large windows that overlook the gardens. wooden easels, stone sculptures, and modern drafting tables fill the space, providing students with the ideal creative environment.

*ೃ༄The Music Studios

𓂃༊ music rooms are soundproofed, sleek, and modern, with grand pianos, violin stands, and digital composition equipment. there are practice booths for solo rehearsals as well as a large orchestral rehearsal space.

*ೃ༄The Dance Studios

𓂃༊ dance studios feature wall-length mirrors, wooden flooring, and high ceilings, with light pouring in from floor-to-ceiling windows. soft drapes give the space an ethereal touch, and seating areas are available for observation and critique sessions.

✧˖*°࿐ The Library

𓂃༊ a multi-floor, grand library that is a blend of dark and light academia aesthetics. the lower levels feel cozy and historic, with dark oak bookshelves, green reading lamps, and towering bookcases. the upper levels have floor-to-ceiling windows that bathe the space in natural light, complemented by cream-colored walls, soft wooden tables, and modern seating areas.

𓂃༊ individual study rooms with stained glass windows, fireplaces, and soundproof walls allow students to focus in solitude, while communal study tables are arranged for group projects.

✧˖*°࿐ Sports Facilities

*ೃ༄The Gym

𓂃༊ the gymnasium is massive, with a mix of wood and modern white paneling. it houses multiple courts for basketball, volleyball, and indoor sports.

*ೃ༄The Pool

𓂃༊ the swimming pool is equally grand, featuring a brown wooden ceiling with exposed beams and floor-to-ceiling windows that allow in natural light. the white tile flooring reflects the water, making the space feel bright and open.

*ೃ༄The Lockerooms

𓂃༊ the locker rooms are pristine and spacious, fitting the academy’s prestigious reputation. marble and dark wood details, heated floors, and private shower stalls make the space feel luxurious.

✧˖*°࿐ Culinary

𓂃༊ the culinary arts wing of Veltrius is designed to be both professional and welcoming, blending modern kitchen technology with warm, natural elements like wood and stone finishes. the space allows students to hone their cooking skills, experiment with flavors, and develop their craft in an environment that feels both functional and high-end.

✧˖*°࿐ Cafeteria

*ೃ༄Main Cafe

𓂃༊ the cafeteria is modern and sleek, featuring high ceilings, wooden beams, and walls of glass windows that allow in natural light. the white and brown color scheme, complemented by lush indoor plants, creates a warm, inviting atmosphere.

𓂃༊ buffet-style dining with international cuisine, fresh produce, and gourmet student favorites ensures that every student has options that suit their dietary needs.

𓂃༊ third-years are allowed to leave campus during meal breaks to explore the nearby restaurants.

*ೃ༄Campus Cafe

𓂃༊ a smaller, more intimate café located in a quiet corner of the academy, designed for studying and light conversation. Wooden bookshelves, soft lighting, and window-side seating make it the perfect space for students looking to read or work in peace.

𓂃༊ the café serves artisanal coffee, herbal teas, and fresh pastries, making it a favorite spot for late-night study sessions or morning reflections.

[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.

[hxsperia]

Book review

| If We Were Villains ▪︎

| M. L. Rio ▪︎

| 10/10 ▪︎

The review may contain slight spoilers (almost none at all)

"If we were villains" by M.L. Rio is a book that may evoke a lot of extreme emotions, but that's what good literature is all about - They don't have to be just subjectively perfect. I must admit that at the very beginning the book did not captivate me. I read it with some reluctance, even though its concept itself seemed extremely interesting to me. The number of characters seemed burdensome at first, but over time you get used to it. The inserts from Shakespeare's works may be just a headache for some, but I was absolutely charmed by them, and without them the composition seems soullessly empty.

Intrigue, beautiful surroundings and stage drama. The author introduces the reader to the world of actors whose roles on stage are reflected in reality in which art intertwines with brutal truth. The whole action is narrated by Oliver as a memory from the old days, he is a character you can simply like. The text, which is divided into acts, only adds a mood that perfectly complements the story about the tragedy that took place among acting students. Someone dies, someone is guilty. Can you guess who the murderer is? You can, but it's not obvious at all. The plot twist that appears at the end is breathtaking, regardless of the reader's suspicions. Dear people who have read this book, I hope you know which line in the final act tore my heart to shreds. The feelings that the characters have for each other are so incredibly vivid and true - Full of drama and suffering and many unspoken words.

Many people consider this work to be superior in its inspiration to Donna Tartt's "The Secret History". Well, I personally don't think so. However, this book is absolutely not bad. After getting through the arduous first few chapters, I was left in tears at the very end and with a storm of emotions in my head. I recommend reading it, it's a really great text. Initial reluctance turned into my tears at the end, and books that evoke emotions are the most beautiful.

[artemlegere]

Virgil's Tomb

Artist: Joseph Wright of Derby (English, 1734–1797)

Date: 1779

Medium: Oil on canvas

Collection: Yale Center for British Art, New Haven, CT, United States

Description

Wright painted many versions of this composition, one of his most popular subjects. It represents Silius Italicus, a Roman consul under the Emperor Nero who devoted his later life to the study of literature. His passionate admiration for Vergil led him to buy the poet's estate and tomb at Posillipo, near Naples. Each year he recited Vergil’s poetry inside the tomb on the anniversary of the poet’s death. Wright shows him inside the tomb by candlelight, declaiming Vergil's verses aloud as though trying to raise his spirit.

[imaginesbymk]

MARSTON. ━︎━︎ ZSAKUVA STRICT PROFESSOR !

chapter eleven - ❝what do you really want?❞

← previous chapter: chapter ten - "new friend." next chapter: FILLER CHAPTER - "ICEBREAKERS." →

fanfic info / read it on wattpad

SYNOPSIS — Fed up of waiting, Andrew finally confronts Y/N about his feelings and where they stand. Y/N has to make a decision.

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A N D R E W

"IT'S A COMPLEX field of contradictions and paradoxes that you can exploit. The influence of poetry is never summarized by a few words. It seeps into its very foundation." To some students who are only there to pass, it seemed like absolutely nothing to them. But when I spoke into the lectern mic, there was a rush of passion through my teaching as I spoke about poetry.

"But, it also pulls from your own ideologies whether you're aware of this or not, and so poems are always subjective in writing just as they are in interpretation, and time can also change it because of shifts in the dominant, societal culture. Now when these contradictions occur, in theory, you need to understand the breadth of obvious persuasion versus rooted ideology."

That last sentence I gave was something I had learned in my younger years. I credit the poets who were so lovesick and miserable that they poured it onto paper. The amount of ink used for a person they could but couldn't have. It was something I never thought I could relate to until I met Isaac.

Literature club wasn't too popular at the time. When I walked in the first meeting, only ten students showed up. If it was varsity, there would be twice the amount. Out of everyone who seemed to get along with each other right off the bat, Isaac was the first man I saw- and he was the only person who spoke to me the most.

As far as I know, the university has clubs, just not a Literature club. The Dean commented that having Literature and English composition courses were enough that there would be no point of even starting one. If I were to open one, I'd be the first to run it, and I wouldn't be as strict to these students in extracurricular. I'd laugh more, show a different side of me that everyone doesn't see often. With Y/N, we could probably talk about Astrophel and Stella for hours. I'll never forget the last time we had a tutorial. Y/N passionately rambled on the reading list they came up with themselves, as if they were the ones giving the lecture.

But as usual, I was. "So, the next poem I would like you to analyze is If by Rudyard Kipling. It's already uploaded onto Moodle, so give it a read. I want you to write down your initial interpretation, and then ask a friend for their interpretation, and then bring the results next week to see if they differ and why." I looked at my watch, then closed the slides on the projector with the tablet. "Okay, that'll be all."

I stepped away from the lectern, gathering the extra files and booklets I had piling on the desk. From the corner of my eye, Y/N was already heading out. It's been a couple of weeks now since they and [STUDENT NAME] started hanging out. They sat beside each other again today, and I'm hoping some day I'd call them out to answer a question if they weren't paying attention.

But Y/N can be sly and still be caught up in their work.

"Oh, could you stay behind to help for a moment? I need another pair of hands to bring these to my office."

Y/N nodded, walking over to help me collect the materials.

"How's your studies so far?" I ask.

"So far so good," they reply.

"Good. How's the new module? Poetry is definitely a sharp change from 12th century literature."

They nodded. "It's been more interesting than the last term."

I hummed. "Yes. There'll be a lot more chances to explore creativity in the coming weeks. I don't know if you saw on Moodle, but there will be one week where I ask each of you to anonymously submit a poem that we can dissect in the lesson after to see if any subconscious ideologies bring forth. They will also remain anonymous so even though we'll be speculating as a class, we'll never know the truth, which I think is needed for something like poetry."

I opened the door for Y/N, letting them exit the hall first.

"What about you?" Y/N asks.

"Have I? I've written some poems," I pause. No one has ever read my poetry, before. I don't go digging through my old books just to find them if they were all that poor. I can't imagine people's reactions whether they were good or bad. "Maybe I could share some with you, definitely not the ones I wrote as a teenager. Those will, uh, never see the light of day."

Y/N laughs. "I'm sure they're not bad."

"It's natural to be a skeptic of your own work and not live up to the expectations you've set yourself, especially when you go review them years later. As I said in class, societal ideologies change with time, but so do internal ones. Your view on life changes as you gain more knowledge and your mindset shifts, and then an outlook you thought you'd have forever can change with one strange encounter." I jiggle the keys into the lock of my office, letting Y/N enter first, then me.

"And you've experienced that yourself?" they ask.

"I've had too many to count. But I'd encourage listening and being open to change." I hung my shoulder bag near the chair, then my laptop. I looked at Y/N, waiting to be instructed with the books in their hands. "Set them down on my desk." They do so.

"Actually before you leave, I wanted to have a word with you. Well, not anything related to your work but a more... personal conversation."

Y/N stops. "Yeah?"

"Since the last time we spoke here, I'venoticed that, um, you've been hanging out a lot with that friend of yours. You frequently sit next to them too now."

"Yeah?" they shrug. "What about it?"

"Well, I can't help but wonder if there's anything between you two."

"What are you talking about?" Y/N shot me a look, folding their arms.

I had to remind myself again. It has been weeks, and all I've done was mope around in silence while Y/N drank flavoured milk teas with someone who skips lectures just for the hell of it.

As selfish it may sound, I deserved assurance. I deserved an explanation.

"You know fully well what I'm insinuating," I said, annoyed. "After what we've done together and now that you know how I feel, suddenly you've taken an interest in a classmate that you've only started talking to."

"How do you know all this?"

"I'm observant, and you know I am. So," I folded my arms, too. "Is there anything you want to tell me?"

Y/N responded exactly how I thought they would. Y/N shook their head.

"Are you sure? Because if I were to take a guess, I'd think that you're purposely flaunting this new friendship in front of me."

And giving the smirk forming on Y/N's face, all that overthinking and overanalyzing for weeks on end just proved I was right all along. "I was just testing to see how you'd react. What have you noticed?"

"You're testing me? What sort of validation are you looking for?"

Y/N rolls their eyes at me. "C'mon..."

"Fine, I'll humour you. It started a couple of weeks ago, they had an interest in you before that, and I saw. Obviously you noticed, too. It was the day after you were here last that you decided to change tactics, and you made sure to do it so openly, it would be difficult for me to not see." I stepped closer to them. "Convincing them to sit at the front with you, borrowing stationery, forgetting to bring your book to class so you can share and get closer..." That annoyed me the most.

Y/N eyed me up and down.

"Like I've said before, I watch you on occasion. Maybe occasionally isn't the right word to use. I'm interested in you, so naturally I'm going to want to look at you even when I'm focusing on the other students. You're always in my peripheral so I see when you do something and turn my way to gauge my reaction."

"Oh, so you have been noticing that, too."

"Yes, I see that you're sly, but not invisible. So, I need to have a talk with you once again, it seems." I frowned down at their level. "What is your end goal here? What do you really want from me? If you're leading on someone just to get my attention, that's a little problematic, isn't it? Or are you just having fun? How do I know you're not doing the same to me and just seeing where the chips fall?"

Whatever their answer was, mine would remain the same. I've came to terms with myself about my feelings for them, even though I tried to brush them off, even if I tried to fight them when I tried to sleep. If Y/N doesn't give me a straight answer by today, I would not know where to go from there.

They shook their head again.

"Y/N, love. I would like an answer. To be quite dramatic, it's driving me nuts. It's been driving me nuts. Did you suddenly change your feelings about me?" I ask.

"Are you seriously putting me on the spot here?"

"I honestly feel like I have to, because you confessed to me over an assignment, and just a couple weeks ago, you and I had that talk in my office. But now you have your eyes for someone else."

"There's no one else I have eyes for."

I was genuinely taken back. It was a baby step of what I wanted as proper closure. "Ah, so you do like me? But I think you should let your friend know that you have no intention of building a relationship with them. It'll only prove to hurt them further down the road once they realize what you've been doing."

"Like what?" Y/N asks, chuckling. It could only mean I had to be the one to step up and ask the big question for something we're sure we both want.

"You know exactly what. You say you like me... what if I offered for you to be with me?"

Y/N stopped smiling, looking at as me as if though that question would have never been asked by someone whose job was to grade their paper. "Surprised? I'm sure we can make it work."

I don't see them when I close my eyes, but I leaned down and cup their face to pull it closer. I kiss them, imagining the look on their face still being as in shock when I made that offer. An offer I knew anyone at campus would accept, given what they say and think about me.

"You've been thinking about this for a while, haven't you?" they ask, breathing for air.

"I think about it all the time, don't you?"

Y/N nodded.

"There's a version of this that doesn't go our way," I tell them. "But there's also one where we have a chance to make something out of it every day. I think about you when I'm home. I wonder what you're doing, if you're studying well, eating well. Sometimes you're in my thoughts more than anything else... and I'm starting to understand what it really means - that this is not just a fling or a curiosity for me."

"But are you sure you feel this way for me? Sometimes your heart can deceive you. We could end up being just a fling or curiosity and nothing more."

I sigh. "Here," I grab Y/N's hand and placed it on my chest. "Can you feel it? How fast my heartbeat is? I have to uphold a certain look for the sake of keeping my job, but when it's obvious to me that I desire someone who seems to want me as well... there's only one thing left to do."

"But people will talk about it. They're not dumb."

"Yes, people will talk. I am your Professor, you are my student. It's not unheard of for relationships to occur in universities, and if I'm correct, I'm only a couple of years older than you. So, with all that said... what do you really want?"

Their eyes twinkled up at mine. I know what they want. And I wanted to hear it. "I want you... to kiss me again."

I chuckled. "I can give that to you." I did as they wished. I pull away once more. "But you have to break it off with that friend. Don't give them anymore hope."

"Already halfway," they say. "We weren't that compatible, anyway. I didn't think you would be so jealous of them, jealous of what I was doing."

When I checked their status, [STUDENT NAME] was indeed still my student. I can't remember what exactly their grade was, but it was likely a passing grade, a saving grace. But disregarding that person, I couldn't bare to go on another week of Y/N forgetting their textbook again and having to touch hands and knees with them in front of me, again.

I scoff. "You think I wouldn't be jealous? Of course I am! You can flirt so openly with them and there won't be a problem. The only time I can really spend with you is in here where no one can see us." We kept kissing. "Teaching-" Another kiss. "Is the best part of my day. Not because I'm a Professor who should like their job, but because I know that you're guaranteed to be there, watching me. So, the fact that your attention suddenly shifted to someone else is... annoying. If you truly like me, then don't look at anyone else the way you look at me during class or outside of it. You can hang around with others as much as you like, but I'm losing out on that. Not anymore."

We kiss again, grabbing their hand. I trail my kissing down to their neck and back to their lips as I spoke in between. "So say it to me." More kisses. "Say-" Another one. "That you want to be with me." Once more. "And you will."

Y/N looked up at me. "I want you, and I will be with you."

I hummed. "Good answer."

This sensation felt more victorious than when I even got hired at the university, or when I opened mine and my brother's Christmas gifts our parents got us when we were kids, which was Finding Nemo on DVD. My anxiety over whether my feelings were reciprocated had finally vanished, though I was here, alive and well, for many more to come. But I could assure nothing could go wrong.

"There's a museum that I'm thinking of visiting in a couple of weeks and I was wondering if you'd like to join me."

"The British Museum?"

I nod. "I'm writing another thesis, it's strictly a hobby at this point, but I wouldn't say no to having another mind there. I've heard there's a new exhibition opening and I'm eager to see it. We could go at the weekend so no using university hours."

"A lot of students go there."

"I've accidentally bumped into plenty of students outside classes so it's not uncommon, and something tells me you'll like the exhibits. I want to be there when you experience them."

They paused for a moment, then nodded. "I'm down."

"Good. Well then, it's a secret date. I'm looking forward to it. In the meantime, I'll see you in class tomorrow. Oh," I quickly dug through my bag, pulling out something not as valuable for a gift, but the thought of giving back was considered after I was given candy and a written note gestured on Halloween. For Y/N? I'd give them the world. "Happy birthday."

Y/N blinked, accepting the small present. "How'd you know-"

"[STUDENT NAME] has a big mouth." I roll my eyes a bit having to credit them for knowing.

"It's not until Sunday."

"I don't see you on weekends. Well, except for our date that's coming up. We could treat that as a belated birthday date, just for you. But until then, eat lots of cake for me on your big day." Y/N giggles in response. "Er..." I shook a bit in my voice. "I'm gonna need your cell. Emailing seems too formal for a date, and kind of odd. Especially since this is gonna become something more." I said since, not if.

Y/N smiles and pulls out their phone. "If you wanted my number all this time, you could have just asked, Professor."

I now had Y/N's name in my contacts, and I could already picture them calling me at 1 in the morning just to hear my voice. "I'm not that eager," I joke down at them, wanting to trace my finger on their cheek. I could melt. "Just call me Andrew."

I peck them on the lips one last time and they walked out, bringing the small gift with them.

"Make sure you bring your books this time," I sternly remind them as they peaked their exit. They let out a faint chuckle, shaking their head as the door shut. As I was finally alone, I exhaled a shaky breath, unfolding my arms and nearly falling off my chair as I took a moment to sit down. I could really use coffee, or just a glass of water. The wind was knocked right out of my soul.

It was starting to kick in. I have a date.

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[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.

[venbetta]

I often question my intelligence a lot, since I get in my own head... and I know it's not a good thing, it's just a habit I can't shake.

I was using my old AP literature composition notebook for my math hw (and other subjects since only 10% was used...) and just now looked at my old notes from back when I was 17-18 taking that class..

While I remember struggling to comprehend the lessons themselves, I read back at the notes for the various stories we read... and sure, they might be basic observations, but there were little treasures in my writings that were definitely compelling.

Kiowa is another soldier who "carried his grandmother's distrust of the white man, his grandfather's old hunting hatchet." He carried the New Testament, which feels ironic, especially since doesn't inherently trust the white man— but practices the religion...

- Assignment notes based from the novel, "The Things They Carried"

LIKE.... 17 year old me clocked the shit? Damn... I don't even think I knew how potent that analysis is... but yeah. I was surprised by that observation I made. My media literacy back then was a little weak, but I sometimes managed to find really subtle/smaller details that some of my classmates hardly picked up on.

There was also a memory I hold dear from when we were reading Frankenstein, and I pointed out the irony when Walton likened Victor to a "creature". My teacher stopped me, "Repeat what you said?" And I repeated my point, feeling embarrassed cuz she made the class look at me... (I was quiet, I didn't like attention).

That goes to show that I know I'm a lot smarter than I think I am, it's just I find myself a bit blinded by my own criticisms to really see it...

[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.