#John Boardman

[yourcoffeeguru]

Vintage GREEK ART by John Boardman Art History Book 1973 || SWtradepost - ebay

[justforbooks]

Sir John Boardman

Archaeologist who became a leading authority on the history of Greek art, with a particular interest in gems and finger rings

As a student, John Boardman, who has died aged 96, was able to recite by heart texts in Attic Greek, the form of the language used in ancient Athens. But while studying classics at Magdalene College, Cambridge, he encountered two archaeologists whose work encouraged him to apply that flair to the study of classical objects: Charles Seltman showed him coins, and Robert Cook vases.

To these he added carved gems, sculpture and architecture, on all of which he became a leading authority, and the author of more than 30 books.

On graduating in 1948, he took Cook’s advice not to study for a doctorate, but to go to Greece and do some research there. At the British School in Athens for the next two years, as well as travelling to destinations including Crete and Smyrna, he worked in the depths of the Athens National Museum on vases from the island of Euboea (the modern Evvia).

The diagnostic pot shape that he identified enabled later archaeologists and historians to track the paths of Greeks and Greek culture to the east – Al Mina in Syria – and the west – Pithecusae, today’s Ischia, in the gulf of Naples – and at many points between.

The Greek islands and the diaspora around the Mediterranean came to be recurring themes in Boardman’s work. In 1964 he published two books, The Greeks Overseas: Their Early Colonies and Trade, and Greek Art, both of which went on to further editions.

On his first visit to Greece he met Sheila Stanford, an artist, and after he had completed his national service in the Intelligence Corps (1950-52) they married in Britain. He then returned to the British School as assistant director (1952-55), and was given his own dig, on the island of Chios.

His party of excavators and helpers there included Michael Ventris, the architect who shortly aftewards announced his decipherment of the Linear B syllabic script as an early form of the Greek language, and Dilys Powell, the eventual film critic of the Sunday Times.

Back in Britain, Boardman served as an assistant keeper at the Ashmolean Museum, Oxford (1955-59). Its Cast Gallery, containing plaster casts of some 900 Greek and Roman sculptures, became his preferred academic home base, and he published a catalogue of its Cretan collection (1961).

Working on another, private, collection of art objects in the 1990s gave him ideas about world art, its interconnections and aims. This led him to distinguish three main “belts”: a northern one, running from Siberia to North America, where nomads favoured small items, often depicting animals; an urban one, from China to central America, more given to monumental architecture; and a tropical one characterised by human forms, notably of ancestors. He explored these ideas in The World of Ancient Art (2006).

Other publications included Greek Gems and Finger Rings (1970); handbooks on Athenian black-figure and red-figure vases (1974 and 1975); a lecture series given at the National Gallery of Art in Washington and published as The Diffusion of Classical Art in Antiquity (1994); Persia and the West (2000); The Archaeology of Nostalgia: How the Greeks Re-created Their Mythical Past (2002); numerous catalogues, particularly of gem collections, including the royal one at Windsor Castle; and excavation reports from Chios and from Tocra, in Libya.

After the Ashmolean appointment came university posts at Oxford, as reader in classical archaeology (1959-78) and then Lincoln professor of classical archaeology and art (1978-94). As professor emeritus, he continued to work from offices first in the Ashmolean and subsequently the classics faculty’s Ioannou Centre.

In 2020 he produced his autobiography, A Classical Archaeologist’s Life: The Story So Far. The last of its three parts focuses on a field of “minor” art that he showed could be anything but: Greek and Roman gems and finger rings. Called simply “Gems, Bob and Claudia”, it details the work that Boardman did first with the photographer Bob Wilkins and later an archivist of the Beazley Archive, in Oxford, Claudia Wagner. With her he co-authored Masterpieces in Miniature: Engraved Gems from Prehistory to the Present (2018).

Born in Ilford, Essex, John was the son of Clara (nee Wells), who had been a milliner’s assistant, and Arch (Frederick) Boardman, a clerk in the City. The family was not academic, but John was impressed by what he saw at the Victoria and Albert Museum and the British Museum when he visited them with his father, who died when John was 11.

While at Chigwell school, John experienced second world war aerial bombardment, of which he later had vivid memories. He found the study of Greek to be “magical”, and the school’s headteacher encouraged him to apply for a scholarship at his former Cambridge college.

Though his own career developed at a time when a doctorate was not obligatory, Boardman went on to supervise vast numbers of graduate students, scattered over several continents. He had an extraordinarily acute and retentive visual memory, was prodigiously efficient and well organised in his teaching – his lectures on Greek architecture and sculpture were a revelation – as in his research and writing, and welcomed the assistance provided by digital technology.

I first met him in his Ashmolean office, in 1969, keen for him to be my doctoral supervisor. Almost the first word he uttered was “Sparta”: not long before, he had published an account vastly improving on previous understanding of the sand, earth and relative dating of the artefacts found at the Artemis Orthia sanctuary site there. Like many others, I appreciated his meticulous standards of archaeological observation and historical interpretation.

Boardman once wrote that he felt more at home intellectually outside Oxford, indeed outside Britain, and he was involved with and recognised by institutions in Ireland, mainland Europe, the US and Australia. For almost three decades he was on the board of the Basel-based Lexicon Iconographicum Mythologiae Classicae (1972-99).

His activities in Britain were still considerable. He edited the Journal of Hellenic Studies (1958-65) and was a delegate of the Oxford University Press (1979-89). At the Royal Academy in London from 1989 onwards he occupied what had originally been Edward Gibbon’s seat of professor of ancient history. He was made a fellow of the British Academy in 1969, and knighted in 1986.

While ready to express a view in serious academic controversies he was resolutely apolitical. Nonetheless, he took the view that Lord Elgin’s dubiously acquired collection of sculptures from the Parthenon and other structures in Athens purchased by the UK in 1816 should remain in its entirety under the curation of the British Museum Trustees.

He received a lot of support from the publishers Thames & Hudson, and his very last publication came in the month of his death, in their Pocket Perspectives series. John Boardman on the Parthenon is a lightly illustrated repackaging of the lively text he had composed to accompany the black and white photographs of David Finn in the same publisher’s The Parthenon and Its Sculptures (1985).

Sheila died in 2005. He is survived by their children, Julia and Mark.

🔔 John Boardman, archaeologist and classical art historian, born 20 August 1927; died 23 May 2024

Daily inspiration. Discover more photos at Just for Books…?

[aboutanancientenquiry]

Minoan Kingship and the Solar Goddess

A Near Eastern Koine

Author: Nanno Marinatos

An illustrated guide to Minoan images and symbols

Publication Date

Paperback: 09/01/2013

ABOUT THE BOOK

Ancient Minoan culture has been typically viewed as an ancestor of classical Greek civilization, but this book shows that Minoan Crete was on the periphery of a powerfully dynamic cultural interchange with its neighbors. Rather than viewing Crete as the autochthonous ancestor of Greece's glory, Nanno Marinatos considers ancient Crete in the context of its powerful competitors to the east and south. Analyzing the symbols of the Minoan theocratic system and their similarities to those of Syria, Anatolia, and Egypt, Marinatos unlocks many Minoan visual riddles and establishes what she calls a "cultural koine," or standard set of cultural assumptions, that circulated throughout the Near East and the eastern Mediterranean at the time Minoan civilization reached its peak. With more than 150 illustrations, Minoan Kingship and the Solar Goddess delivers a comprehensive reading of Minoan art as a system of thought.

Contents

Preface [ix]1.

 Introduction [1]

2. The King and Queen in Art [12]

3. The King and Queen as High Priests [32]

4. Thrones of Gods—Thrones of Kings [50]

5. The House of God [66] 6. Who Sees the Gods Face to Face? [78]

7. Minoan Prophecy and Royal Power [86]

8. The Cosmic Mountain as a Frontier [103]

9. The Double Axe, the Ankh, and the Ox Head [114]

10. The Rosette, Half-Rosette, and “Incurved Altar” [131]

11. Minoan Afterlife Beliefs [140]

12. The Solar Goddess of Kingship [151]

13. The Storm God [167]

14. Translating the Gods of the Religious Koine [186]

15. Conclusions: A Tribute to Sir Arthur Evans [193]

Notes [197]

Bibliography [225]

Figures and Credits [247]

Index [255]

Nanno Ourania Marinatos (Oυρανία -Ναννώ- Μαρινάτου), PhD, Professor Emerita, Classics and Mediterranean Studies, University of Illinois, Chicago (https://en.wikipedia.org/wiki/Nanno_Marinatos )

According to the review of the book by British  classical archaeologist and art historian John Boardman (https://muse.jhu.edu/article/472181 ):

 “Of all ancient civilizations, the one we might most cheerfully assign to invasion from outer space is the Minoan. It had no obvious antecedents in Greece and no real following, except for the short period of Mycenaean takeover. Arthur Evans, who discovered the Minoans at Knossos, drew the more obvious comparisons with the arts and religions of the East and Egypt—none terribly close and wholly overworked by a culture that viewed its arts and their messages in a way quite unparalleled elsewhere, and intelligible to us only because its practitioners were not little green men but a rather special breed of Homo sapiens. Their religious apparatus was peculiar to them (double axes, horns), and the personnel humanoid, but for a demon that owes a little to Egypt. Religious scenes bear slight resemblance to those of southern or eastern neighbors, and the strongly individual style of figure and animal drawings as well as scene composition is particular to them. Nanno Marinatos, daughter of the most vigorous Greek explorer of the Minoans, has worked this area before, but her new book places them more persuasively in the context of their neighbors, as well as of their own idiosyncratic view of the world, than as forerunners of the classical—which is quite inconceivable. Yet to include them in a “Near Eastern koine” stretches the idea of a koine almost to bursting point. They were the children of their age, as were their neighbors, but more dependent on a strong individuality of approach and vision, perhaps promoted by their physical remoteness from the Levant and Egypt—a remoteness they bade to reduce by travel, as had all occupants of Greece’s relatively sterile land, and in this respect alone foreshadowing the behavior and achievement of their successors there.”

For other reviews of Pr. Marinatos book and thesis on the Minoans see:

https://www.aegeussociety.org/en/book_reviews/review-of-nanno-marinatos-2010-minoan-kingship-and-the-solar-goddess-a-near-eastern-koine-urbana-university-of-illinois-press/

https://www.academia.edu/1236290/Review_of_Nanno_Marinatos_Minoan_Kingship_and_the_Solar_Goddess_A_Near_Eastern_Koine._Urbana_and_Chicago_University_of_Illinois_Press_2010

[alessandroiiidimacedonia]

Death of Sir John Boardman

Good day I’m Elena and thanks to be here on Alessandro III di Macedonia. Today I’ve a sad news to share with you: two days ago Sir John Boardman, OBE FBA Hon RA, Emeritus Lincoln Professor of Classical Art and Archaeology at the University of Oxford and an Honorary Fellow of the Magdalene College Cambridge for 40 years, passed away. Classical art historian, specialist in Greek pottery. Boardman…

[angelofthenight]

Children of the Corn: Yandere Alphabet

Characters Included: Isaac Chroner, Malachi Boardman, Micah, Eli Porter

(Gn!Reader)

Overall warnings: Yandere, Dark themes, Swearing, Unwanted/Non-con touching, Forced religion (only in Isaac), Murder, Unhealthy relationship, Violence, Jealousy, Social isolation, Manipulation, Possessiveness, Obsessiveness, Clinginess, Stalking, Spying, Gaslighting, Invasion of privacy, Power imbalance, Mention of sexual assault (only in Malachi), Emotional abuse, Non-con kissing, Mention of sexual dub-con (only in Micah), Brief suicide mention (only in Micah), Guiltripping, Unhealthy mind games (only in Eli), Controlling behavior, Hypersensitivity

( This was supposed to just serve as a writing exercise to get me back in the groove for another yandere book I’m still writing, but I kept going with this so I just decided to post it. )

( Also idk if the Children of the Corn fandom is either underground or so underground it’s dead but I hope like the two CotC fans on tumblr will enjoy it😭 )

Isaac

Affection: How do they show their love and affection? How intense would it get?

Isaac’s main display of his love and affection is through caressing your face or cheek and cradling your head as he speaks to you. Other than that he’s not super affectionate. Although when you’re on super good behavior then verbally demonstrating his love is more common. He can be quite a devout, as if you were his religion, when it comes to you if you let him.

Blood: How messy are they willing to get when it comes to their darling?

It depends on the circumstances. Most of the time he’ll keep it clean and just use them as sacrifices, but making their deaths more slow. But sometimes if it’s in the heat of the moment he’ll hastily slash someone’s throat in a fit of rage depending on what they did.

Cruelty: How would they treat their darling once abducted? Would they mock them?

He wouldn’t abduct you but the basic equivalent to that is after all the adults have been butchered. He’s smug at heart but his attitude when he finally has you is like he won a game and you lost. He’s extremely smug and cocky about it all. But he does treat it like it’s for the best, that he’s done you a favor, as you look at him completely mortified at what he has exactly done.

Darling: Aside from abduction, would they do anything against their darling’s will?

Yes. He’s the only one of the four characters who forces you to join his religion, even when he knows you’re a nonbeliever, and makes you pray with him.

Exposed: How much of their heart do they bare to their darling? How vulnerable are they when it comes to their darling?

He doesn’t get emotionally or sentimentally vulnerable with you but he does talk you through a lot of his thoughts. He doesn’t keep very many secrets from you, if not very many then none at all, and is typically very open about his life with you. The day he would cry in your arms is the day pigs would fly.

Fight: How would they feel if their darling fought back?

Isaac would be very annoyed above all else. He absolutely hates when anyone, not just you, tries to lay a violent finger on him. This is one of the few times he’ll get furious with you, and it scares you out of fighting him. You’ll throw your fists at him knowing you could overpower him but then he’ll either grab onto your shirt or your throat (depending how violent you are) and scream into your face about how ungrateful you are, giving you mental whiplash due to how calm he is most of the time with you.

“How DARE you have the audacity! I am the one keeping you alive! You’re lucky I don’t throw you to the vultures to RIP OUT YOUR EYES!”

He doesn’t mean what he says when he’s angry, but you don’t know that.

Game: Is this a game to them? How much would they enjoy watching their darling try to escape?

This is most certainly not a game to him but he doesn’t show much care when you try to escape since you never succeed. If you do it repeatedly then he’ll get vexed and annoyed with you, your relationship is most similar to a mother and her rebellious toddler. But overall he’ll just be disappointed and confused as to why you would want to leave such a “happy place”.

Hell: What would be their darling’s worst experience with them?

Isaac was loudly lecturing you, something about how He Who Walks Behind The Rows will not tolerate your insolence and how much you owe Him. You, at your breaking point and finally snapped, cursed and mocked his beloved god. He shoved you to your hands and knees in the dirt and forced you to pray to that very same god. Everytime you would try to lift yourself up he would slam his foot on your back, forcing you back down as he never ceased his screaming down at you. This was in front of everyone who watched in silence. Embarrassment embraced you as the public dehumanizing humiliation burned tears from your eyes.

Ideals: What kind of future do they have in mind for/with their darling?

In his ideal future, you have finally converted to the cult and lead beside him. I think he would think he’s an exception for the “death at 19” rule due to being the giver of His word and you would get to live with him.

Jealousy: Do they get jealous? Do they lash out or find a way to cope?

It’s quite obvious when he’s jealous. If he notices you purposely standing next to someone in a close proximity or looking at specific people (for whatever reason, it doesn’t even have to be attraction), he’ll get very snappy and grumpy attitude-wise. He’ll aggressively interrogate you over it, blowing things way out of proportion and making the biggest deal out of it.

Kisses: What exactly made them fall for their darling?

Your natural purity.

Love story: How did they meet their darling? How would they go about courting or approaching their darling?

When he moved to the small town at a young age, it was extremely difficult for him to make friends. He wasn’t the most pleasant person and naturally became an outcast. You were warmly friendly and was the only one to reach out to him and befriend him, being an outcast of the town yourself as you never really fit their norm. Although he was very unusual and peculiar, it only furthered your fondness of him. He went about trying to court you through creating intimate, tensioned moments with you like lingering hand touches, not elaborating on his specific compliments on you, and fleetingly caressing your cheek with his knuckles. You picked up on his signals easily and sometimes you would return them. But he started to get bolder with his moves when he started converting kids in his little religion. You started to grow distant from him after learning from him about what his religion is truly about.

Mask: Are their true colors drastically different from the way they act around everyone else?

Not really but he is typically in a happier mood when he’s with you, the most he’s ever smiled is when he’s with you or when watching you sleep. He also goes much easier on you and everyone knows it, he’s basically a mother with her obvious favorite child or a teacher with their obvious favorite student. His favoritism annoys the crap out of Malachi.

Nemesis: Who do they consider a rival?

Kind of no one. He’s a little cocky about how he knows no one would dare take you from him, plus he socially isolates you. He’ll only seriously consider someone a rival if you yourself hint/show interest in someone else.

Obsession: Are they more obsessive or possessive?

Surprisingly, despite how manipulative he is and how much he socially isolates you, Isaac’s much more obsessive than possessive. He isn’t very verbal about it though since he doesn’t believe your bad behavior deserves his romantic words describing what he truly feels about you. He is more reserved and reclused about his worshiping obsession with you. His obsession with you is almost in a religious manner, viewing you as an earth-bound god that deserves to be their own religion. If you were your own religion, Isaac would blissfully suffer from scrupulosity. He puts you on a holy pedestal and often parallels you to religious figures, no matter how uncomfortable it makes you.

Patience: How patient are they with their darling?

When it comes to your bad behavior, he’s willing to be patient for awhile but if you prove to show signs of never changing then that’s when he finally snaps at you. Just don’t push your luck with how many times he lets you off the hook without punishment when you break rules. When it comes to waiting for you to love him back, he thinks you have no choice but to eventually fall for him back. He’s willing to wait for the stockholm syndrome to kick in. And if it doesn’t, well you better start faking your love for your own sake.

Quit: If their darling dies, leaves, or successfully escapes, would they ever be able to move on?

Isaac is a very interesting story compared to the other characters in this list in the case of your death. Now of course he would be utterly heartbroken, probably dissociate for an hour or two, but he would then reassure that it was His will and that your death was part of His plan. He would bring you up constantly though. If the other cult members aren’t in check or aren’t doing good he would grow furious and internally panic that they were putting your death in vain.

He would never let you leave him, at least easily. He would gaslight the hell out of you and make you believe that he’s the only one keeping you safe and/or looking out for you. He’ll plant the idea in your head that the others want you dead because they know that you’re a non-believer and that Isaac is the only reason you’re still alive.

There’s a very slim chance you’d ever successfully escape. If you go through the corn, you’re either not coming out alive or ending up back where you started, as if you never left in the first place. If you stay on the road, Isaac would send almost everyone after you to bring you back. Being the leader has major perks so Isaac would lie to the others saying that He Who Walks Behind The Rows needs you alive, thus making it much easier to keep you.

Regret: Would they ever feel guilty about abducting their darling? Would they ever let their darling go?

He will never feel guilt and he will never let you go, no matter how much you beg and cry.

Stigma: What brought about this side of them (childhood, curiosity, etc)?

Attachment issues and the fear of losing the one person who cared about him when the whole town was once against him (pre adult massacre). He’ll never forget that rare, angelic kindness he saw within you.

Tears: How do they feel about seeing their darling scream, cry, and/or isolate themselves?

He finds it agitating and a waste of time. He doesn’t think you deserve to be comforted when you act like a baby. He’ll threaten you out of all three of those things.

Unique: Would they do anything different from the classic yandere?

He’s not as bloodthirsty or jealous, plus he’s a cult leader so that changes a lot of variables.

Vice: What weakness can their darling exploit in order to escape?

One of Isaac’s biggest weaknesses is his arrogant trust in you. I say arrogant because he knows you have nowhere to go, he knows you cannot escape with the corn and the cult surrounding you. So he lets you roam around town without supervision and he also often lets you off the hook without a proper punishment after catching you disobeying him. So you can easily use all of this to your advantage. Plus he can never stay mad at you if/when he catches you. So you’re going to have to outsmart him. And not just him, but the whole cult too. As well as He Who Walks Behind The Rows depending on your escape plan. And actually, you could also use Him as a weakness against Isaac. And I’m talking about lighting that cornfield to flames.

Wit’s end: Would they ever hurt their darling?

He doesn’t like or enjoy inflicting harm on you… but he is a slapper.

Xoanon: How much would they revere or worship their darling? To what length would they go to win their darling over?

Like I said before, Isaac is secretly more on the obsessive side and unhealthily worships you as if you were a god, admiring you like you’re a fallen angel. And if you were a religion Isaac would be your passionate priest and most devoted preacher. His romancing words weren’t enough to win you over before so now he results to just manipulating and gaslighting you into loving him. He paints himself in a way of a savior and your only suitable option, asking if you’d rather be with him who only wishes for your safety and happiness or any of the others who have always thought lowly of you and are savages at heart. Sometimes you hope the others will one day find out about how much he shit talks them all and turn against him.

Yearn: How long do they pine after their darling before they snap?

He silently pined after you for a few months, resisting his attraction as much as he could, but then slowly started getting worse. He snapped after he started hearing He Who Walks Behind The Rows.

Zenith: Would they ever break their darling?

He thinks about it sometimes, just as an option though. But he doesn’t see you ever getting so ill-mannered that you would need to be subjugated to that.

Bonus: What do others think of their relationship with their darling? Do they try to interfere or intervene?

I mean, none of them think it’s normal. But they don’t care enough to step up for you. In fact, they kinda think you’ve set yourself up for it since you two were so close pre-adult massacre. Plus you’re the most infamously nonbeliever so some of them choose to believe Isaac is just trying to convert you through intense love. Probably the closest thing they do to worrying is whisper to each other about how weird Isaac’s infatuation with you is or how unfair his soft spot for you is since he lets you off the break for multiple rule breaks.

~

Malachi

Affection: How do they show their love and affection? How intense would it get?

Malachi shows his love through acts of service and protectiveness of you. He’s not physically affectionate to an intense level but he does also show his love through affectionate touches like hand holding and really always just having a hand on you whether it be on your arm or your back. He is surprisingly a big cuddler, but it’s a little too overwhelming for you as he holds onto you tightly and will not let go even if you start to struggle and ask him to loosen his grip a little.

Blood: How messy are they willing to get when it comes to their darling?

Oh the bloodier the better. He’s very impulsive when it comes to killing someone for you so leaving behind a big mess is very common.

Cruelty: How would they treat their darling once abducted? Would they mock them?

Like Isaac, the equivalent to abduction is the aftermath of killing the adults. He’ll be over the moon that you can finally be together without anyone trying to tear you apart. He’ll be very confused and a little sad when you appear to be the opposite but then he’ll grow to be aggravated.

“What’s wrong? Why are you crying? What can I do to make you feel better? Do you just need to eat? STOP CRYING!!”

Darling: Aside from abduction, would they do anything against their darling’s will?

He tries to keep it at a minimum but overall yes. That includes forcing “couples” things on you like kissing, physical affection, forcing you on dates, forcing you to tell him what he wants to hear. He would only force intercourse with you if he was not in the mood to be refused at the moment (probably got publicly scolded by Isaac earlier so he needs to do something to feel in charge).

Exposed: How much of their heart do they bare to their darling? How vulnerable are they when it comes to their darling?

Surprisingly, Malachi gets very vulnerable with you. So vulnerable it gives you mental whiplash and you wonder if this was really the same boy who forced you into a relationship. He’ll get too comfortable and then he’s crying in your arms about what his life was like before the cult started. You’re almost guilted into liking him back at that very moment. But after his non-dignified crying session in your cradling arms, he’ll get up and wipe his cheeks then walk away and treat it as if it never happened to begin with. Again, mental whiplash.

Fight: How would they feel if their darling fought back?

He gets angry but easily overpowers you. He focuses more on keeping you down to make you stop struggling rather than attack back. He’ll wrestle you to the ground and pin your hands above your head until you stop kicking and screaming.

Game: Is this a game to them? How much would they enjoy watching their darling try to escape?

He wants you to stay where he puts you and gets very angry when you flee, well, try to flee. However he’d be lying if he said he doesn’t enjoy the chase. So in a way it is kind of like a game to him. He loves that adrenaline rush during your guys’ game of cat and mouse, especially since he always wins.

Hell: What would be their darling’s worst experience with them?

You will never experience the same fear and horror you felt when Malachi took you for the first time. You ran down the stairs of your house after hearing a string of crashes and yelling and once you made it to the living room, the sight of your parent’s with their throats slashed open as a smiling Malachi stood over their fallen bodies was shoved right in front of your very eyes. You screamed bloody murder and you took off right back up the stairs, Malachi instantly chasing after you. You just barely made it into your room and locked the door then began trying to push open your heavy window. Malachi used his bloody axe to break the lock and force himself inside your room, making it just in time as you were beginning to escape out the window. He manhandled you out of the window, all while you screamed and cried and thrashed around, and tightly dragged you kicking and screaming down the stairs.

Ideals: What kind of future do they have in mind for/with their darling?

He doesn’t intend on living past 19 due to his beliefs so his ideal future is the two of you walking into the cornfield hand to hand (if his birthday comes first then you’re joining him but if yours is first then he’s joining you. But if he had a change of heart then I think he would be the only one of the four boys who would want a family with you.

Jealousy: Do they get jealous? Do they lash out or find a way to cope?

Malachi’s always been the jealous kind starting from the early stages of his growing crush on you. He would get jealous of every single person you interacted with, they were so casual and charismatic with you and you always returned it. He knew he could never be that kind of person you easily converse with. In the cult, after he finally has you, he’s most jealous of Job and Sarah (just adding more reasons as to why he wants them gone). You always seem the most content when you’re with the two little kids and he hates it. He either kills the person he’s jealous of or throws a private tantrum, it’s rare that he takes it out on you.

Kisses: What exactly made them fall for their darling?

He crushed on you at first because you were attractive, nice and funny but he fell for you after your kindness did not falter when talking to him, treating him like a normal human being.

Love story: How did they meet their darling? How would they go about courting or approaching their darling?

He’s had a schoolboy crush on you ever since the third grade. He never really knew how to approach you so the only way he could get your attention was by doing the stupid teasing hair pulling and nudging you roughly in the halls. As he got older he grew too shy to even do that so he just resulted to admiring from afar. At first it just started as weird but simple crush things like sniffing your hair as you walked past and staring at you. But following you in the halls turned into following you home which turned into full on stalking and spying on you.

He was scheming ways to talk to you or spend more than three seconds together. He would get tongue tied and socially awkward every time he would try to talk to you though. He would get a sudden burst of confidence and walk right up to you but once you turned around, waiting for him to say something, his jaw would go slack and not a word would come out. His eyes would naturally shift into glare without his awareness. Then he’d grunt and quickly walk away, leaving you very confused. Yeah, his approaches were that weird.

Mask: Are their true colors drastically different from the way they act around everyone else?

Oh my god he’s almost like a completely different person (when he’s not angry with you), it literally gives you a mindfuck. With everyone else he’s this temperamental enforcer; psychopath. But with you it’s as if a switch is flipped and he becomes his own exact opposite, soft with puppy dog eyes.

Nemesis: Who do they consider a rival?

He’s a territorial yandere and is insanely paranoid about every little thing, but he considers Isaac his arch nemesis when it comes to your heart. It’s for a very dumb reason though. He thinks Isaac wants you all for himself when in reality Isaac doesn’t care much for you, he’s aware that you are miserable and don’t reciprocate Malachi’s feelings but he doesn’t really care about your predicament.

Obsession: Are they more obsessive or possessive?

He may act more obsessive but he falls under the possessive category. He’s greedy for your attention and sometimes acts like you’re just a prize he won and not a real human being with rights and feelings. He treats others with the “finders keepers” mentality when it comes to you. He’s selfishly overprotective of you and is paranoid that everyone wants you. It’s like he’s a wild dog hogging meat all for himself.

Patience: How patient are they with their darling?

He really does try to be patient with you but ultimately fails. He’s just never been a patient person his whole life. When he wants something he wants it within minutes.

Quit: If their darling dies, leaves, or successfully escapes, would they ever be able to move on?

If you die, Malachi would not be able to move on. He will never see anyone else in the way he saw you. He would become a monster, as you were the only thing that kept him grounded. He would become much more angry and violent, and much more forceful when it comes to keeping the other cult members in line.

If you left him, Malachi would use physical force and aggression to force you to stay with him. He would also pull the toxic, “where would you go?”

If you successfully escaped, it wouldn’t be for long. He would notice your absence quickly and instantly begin the chase. If you’re still on the road, he would easily catch up to you and drag you back into town. When it comes to you, he never slows down nor wastes a mere second of time. If you made it past the road then it would take Malachi some time to find you. He would try to bring some friends to help him but Isaac would refuse, even telling Malachi to stay and forget you. But he would go against orders and still chase after you, which he eventually would since, as stated before, he is unhealthily relentless and does not slow down. So just like the Tortoise and the Hare, you would take a break while believing you’ve made it far enough unknowingly allowing Malachi to finally catch up to you.

Regret: Would they ever feel guilty about abducting their darling? Would they ever let their darling go?

The closest to guilt he will get is feeling sad when you cry, that’s the closest he’ll get to feeling remorse. I think he would consider letting you go for just one fleeting second at a maximum of one time, but other than that I don’t think he ever would.

Stigma: What brought about this side of them (childhood, curiosity, etc)?

His lonely childhood.

Tears: How do they feel about seeing their darling scream, cry, and/or isolate themselves?

Like I said before, he gets sad when you do any of the listed things but the more you ignore his questions on what to do to make you feel better then he’ll grow angry and snap at you.

Unique: Would they do anything different from the classic yandere?

Even though he’s a loose cannon, with the right words he’s easier to keep under control compared to most yanderes.

Vice: What weakness can their darling exploit in order to escape?

Malachi’s sick love for you. He’s very paranoid about you so if you add fuel to the fire of his worries you might be able to sneak in a chance of escape. The prime example is making him so paranoid about your safety, like make him worried that some of the others have been giving you predatorial looks, and plant the idea of letting you stay in the abandoned house closest to the road by yourself… for your safety of course. You just have to make it sound like it was his idea though. So if you play your cards right you can have him wrapped around your little finger.

Wit’s end: Would they ever hurt their darling?

He would never, like, beat you up or anything. Probably the closest thing to that was unintentionally slapping your face in a fit of rage one time. I honestly think Malachi truly does not want to physically hurt you in any way, it’s close to being a weakness. But that doesn’t include roughly grabbing onto you with an iron grip and aggressively manhandling you, resulting to light bruises on your skin.

Xoanon: How much would they revere or worship their darling? To what length would they go to win their darling over?

He’s not the best at putting his emotions into words at all so you don’t really know how much he practically worships the ground you walk on. He shy’s out of telling you how much he loves you loads of times, he just wishes you could read his mind to understand that there is no one in existence that he adores more than you. Although he’s bad at expressing his feelings, he'd do anything to win you over and does indeed try everything. He experiments with a variety of love languages to try and appease you.

Yearn: How long do they pine after their darling before they snap?

He’s always been very strange and weird for you but he officially snaps as soon as all the adults are killed.

Zenith: Would they ever break their darling?

No… well, like Isaac, he does remind himself it is an option if you prove that you’re never going to stop fighting him. Just don’t get confident in thinking he wouldn’t do it…

Bonus: What do others think of their relationship with their darling? Do they try to interfere or intervene?

People are only more concerned when you’re not with him. You keep him grounded, you keep him basically leashed so if anything they want to keep you two together. And even when they do get a little concerned with its effects they don’t dare say anything about it.

~

Micah

Affection: How do they show their love and affection? How intense would it get?

Oh my god, starting off strong. Micah is the most overly affectionate out of all four boys. He shows his love in any way possible like gifts, acts of service (except his interpretation of service is murder), and quality time (except to you it's most of the time just him following you around and not leaving you alone, it’s suffocating).

He shows his love the most physically and verbally. He constantly goes into preaching frenzies about how much he loves you. Some things he says are actually poetically romantic but most of the time the way he says things and how he phrases things comes across as excruciatingly creepy and morbid, making you unbearably uncomfortable and sick to your stomach and desperately wishing he would just stop.

He outrageously smothers you in physical affection (hugging/holding you, kissing/making out, hand holding, cuddling, caressing your skin, cradling your face, standing too close to you) to the point where it’s overstimulating and claustrophobic. He won’t stop even if you’re in tears begging him to let go of you or back up a little or if you’re clearly hyperventilating.

Blood: How messy are they willing to get when it comes to their darling?

More than willing. He’s very passionate about killing someone in your name, more than for He Who Walks. To him, the sooner he kills the person the better. He likes giving people slow and torturous deaths.

Cruelty: How would they treat their darling once abducted? Would they mock them?

Once again, the equivalent to abduction is the aftermath of killing the adults. The first hour after they’re all gone Micah is quite a bit manic with you. He does this long preaching rant with you about how no one can come between you now, that you are finally all his, how you’re soulmates, etc. After all of that madness you are cursed to witness and endure, he’ll act like his previous self with you again, just more touchy and obsessive, a lot more touchy and obsessive.

The closest Micah would get to mocking you is if you cry for too long.

“Come ON now darling! I am sick of your whining!”

Darling: Aside from abduction, would they do anything against their darling’s will?

Yes, but Micah always likes to think that it’s not against your will. He’s so delusional that he believes that when he’s forcing something on you or you to do something, he’s just giving you a small nudge into doing something you deep down do want. Also a few things he does against your will he will do slowly and steadily throughout time, slowly leading you away from the thing he doesn’t want you to do anymore.

Micah invades your privacy a lot too. Stealing your stuff, going/looking through your things even though you’ve yelled at him to stop. He’s a major Peeping Tom as well. Less looking into your window and more not leaving the room when you tell him to when you want to change. He forces kisses on you too, with tongue. He doesn’t force sex on you though, he’s mastered seducing you into it (but it sometimes falls into dub-con).

Exposed: How much of their heart do they bare to their darling? How vulnerable are they when it comes to their darling?

He’s an open book with you. In fact, sometimes he overshares a little too much. He’s one of those people who blatantly and casually trauma dumps, (he had a physically abusive father so there’s a lot to unpack with him). He’ll sometimes bring himself to tears while going on one of his long tangents about how much he loves you. Even though he’s very vulnerable with you about his emotions, he’s not always honest with you. Well, he doesn’t lie to you, he just keeps a lot of secrets from you and hides a lot of stuff from you. Overall you’re not always in the loop with his plans.

Fight: How would they feel if their darling fought back?

He’s confused and tired of it. He’s a bit delusional about how this all affects you and how you don’t want to be with him. He’s one of those annoying guys who babies you when you’re trying to physically hurt him, he’ll wrap his arms around you and not let go as you squirm and kick in between his hugging arms. He’ll talk over your curses toward him.

“Why are you fighting me?! We could be so happy if you would just stop fighting me!”

Game: Is this a game to them? How much would they enjoy watching their darling try to escape?

He does not consider it a game, and if it is a game he’s not having fun at all. He does not enjoy watching you try to escape. It frustrates and upsets him. When you are returned back to him you will be getting quite a loud earful about how ungrateful you are, how disappointed he is in you, why would you want to abandon him, etc.

Hell: What would be their darling’s worst experience with them?

He sacrificed your parents right in front of you. You crumbled to your knees, sobbing hysterically, before he forced you to stand and kept a painful grip on your biceps to keep you close to him. He loudly and passionately declared his devoted love in your face as you uncontrollably bawled your eyes out. His speech sounded nothing but muffled to your overwhelmed ears but the few things that you understood him saying was, “There are no others to come between us!” and “Now say that you love me!”

Ideals: What kind of future do they have in mind for/with their darling?

I don’t think he really cares what the future holds just as long as you two are together with no more issues or problems. He’s so focused on making you accept him that he hasn’t given it much thought about what would happen after. But he does wish for marriage.

Jealousy: Do they get jealous? Do they lash out or find a way to cope?

Oh my god, Micah’s by far the worst one of the four boys when it comes to jealousy. He gets jealous over all your interpersonal interactions. He gets jealous over the stupidest things. Why did you glance at that person over there? Why did you look to your feet when you were talking with that person? Were you flustered by them? Why were you even talking to them in the first place? You’re spacing out… are you thinking about someone else right now?! He should be the only person you think of!

He’s equally as bad when it’s the other way around. Why did that person walk past you? Did they try to smell your scent? Your sweet scent is for his nose only! Why did that person look at you? You are for Micah’s eyes only! His solution to his own jealousy is typically always murder but sometimes he’ll complain for hours to you, interrogating you over his suspicions.

Kisses: What exactly made them fall for their darling?

How nice and gentle you were with him. Sticking by him and proving that you genuinely do care about him and his feelings.

Love story: How did they meet their darling? How would they go about courting or approaching their darling?

You resided in Hemingford when the Gatlin kids were moved there after their town’s mysterious tragedy. Your mom was friends with the Bed and Breakfast owner who took in Micah, so you ended up meeting him over breakfast. You’d never admit it but you had a bit of a savior complex with him, seeing him so despondent and lonely. You quickly befriended him and sooner than later, almost overnight, he returned back to normal. It was easy for his crush on you to form then evolve to him falling deep in love, becoming hopelessly lovesick. His way of pursuing you was taking fast baby steps in trying to make your friendship something more like opening up more and seeking you out to spend time with you. It was almost natural that you two ended up in a romantic relationship. Until he ruined it by his absurdly concerning behaviors.

Mask: Are their true colors drastically different from the way they act around everyone else?

Yes. With the cult he’s intuitive, self-composed, assertive, and has no time for shit. But when he’s with you it’s like he loses his dignity. He loses his self-restraints and becomes perverse. But thankfully he’s not like that all the time, the other times he’s relatively calm and acts more like a casually normal boyfriend.

Nemesis: Who do they consider a rival?

Anyone who looks at you. I’m not kidding. Micah can’t even stand the sight of you merely standing next to someone else, can’t even stomach the thought that others share air with you. He has that mindset where only he can look at you, only he can talk to you, only he can think about you. And he is absolutely the only one who can touch you or go near you. He wants you all to himself. Absolutely no one on the planet can have you and he would rather set fire to the beloved cornfield than share you with anyone. But specifically, he sees adults as the biggest threat. There’s always an adult trying to come between you and separate you for your sake. Just another reason as to why he needs to get rid of all them.

Obsession: Are they more obsessive or possessive?

Micah is by far the most obsessive of all four boys. He is needy, bigoted, fervid, and so delusional that it’s erotomania. He is so unhealthily obsessed with you and hyper fixated on you that his overwhelming attraction to you is practically his whole personality. His obsession with you is compulsive and he has lost any control over it, happily just accepting it. You preoccupy his mind intrusively to a troubling extent and he’s addicted to every little thing about you: the thought of you, the sight of you, the smell of you, the taste of you, everything about you. He is so obsessed with you that it sometimes brings him to tears; he is utterly lovesick. He really needs to see a doctor.

Patience: How patient are they with their darling?

He’s surprisingly very patient with you. It typically benefits him in the end. Like when he waits for you to finish your tantrum and now all your energy is drained, then he gets to cuddle you without you struggling against him and trying to push him away. His patience is almost like a manipulation tactic in a way. And since he’s so delusional, he’s convinced that you do love him deep down but you’re just in denial.

Quit: If their darling dies, leaves, or successfully escapes, would they ever be able to move on?

If you die, Micah would be a tragically heartbroken mess. Bawling his eyes out while hopelessly clinging onto your limp body. He would never move on. In fact, he would find a way to resurrect you since this is the Children of the Corn universe. I think he would make a deal with He Who Walks Behind The Rows, your soul in exchange for a whole sacrificed town. Either that or he will off himself.

Micah would never allow you to leave him. You would tell him your reasons for wanting to end the relationship and he would guilt trip the hell out of you and go on this long ass rant consisting of the lines “am I not good enough for you?”, “I cannot breathe without you, do you wish me to die?”, “I’ve given you everything that I could, and it’s still not enough for you”, “after everything I’ve been through, don’t I deserve to be happy too?!”. Even when you don’t consider him your boyfriend anymore, that won’t matter to him at all. His behaviors would not change and he will act the same exact way he did when you were together, except maybe a little worse.

If you somehow successfully escaped, Micah would never move on. He is obsessed. He would hunt you down and would never, ever stop. He would track you down for years on end if he had to. With the corn and the cult on his side, it wouldn’t be a surprise if you were eventually caught and dragged right back to where you started, back in Micah’s arms.

Regret: Would they ever feel guilty about abducting their darling? Would they ever let their darling go?

His guilt is barely at the minimum. Even though he’s insanely delusional, he’s not blind or stupid. He does indeed notice how unhappy you are and always tries to make you feel better, unknowingly making it worse. But he’s never considered or thought about freeing you from the thing that’s making you miserable, himself.

Stigma: What brought about this side of them (childhood, curiosity, etc)?

When he was abused by his father he always thought that the world was saving him something amazing in the future after all of the pain and suffering. He was always a little too obsessed with that concept, clinging to it through every beating. And He Who Walks possessing a part of him also prompted this side of him even more.

Tears: How do they feel about seeing their darling scream, cry, and/or isolate themselves?

Micah hates it and feels like it’s a personal attack. When you scream or cry he’ll get super close to you, so close that you panic and feel claustrophobic/suffocated which makes you cry even more, and try to hold you as an attempt to make you feel better. He just makes it worse though but he’s oblivious to that fact. If you isolate yourself from him that’s when he’ll grow angry and manic, screaming at you and going on a long, loud tangent preach about how you’re meant to be together.

Unique: Would they do anything different from the classic yandere?

Not that I can really think of other than that he exposes his calm/normal side of himself to you more than most yanderes.

Vice: What weakness can their darling exploit in order to escape?

With the right choice of words you can exploit his abusive past with his father. You have to use the right words though, like be very careful with your wording. So it really just depends on how manipulative you can or are willing to be. Your freedom depends on it.

Wit’s end: Would they ever hurt their darling?

He doesn’t like hurting you at all, but he has given you a few slaps across the face while claiming that you forced his hand.

“Look at what you made me do!”

Xoanon: How much would they revere or worship their darling? To what length would they go to win their darling over?

He fanatically adores you, like he is physically on his knees worshiping you, worshiping every inch of your skin. He would go to extreme lengths to win you over, from murder to straight up begging.

Yearn: How long do they pine after their darling before they snap?

He pines for a couple of days, maybe a little over a week, before he starts getting creepy and weird with you. He officially snaps when you try to leave him.

Zenith: Would they ever break their darling?

Never. He doesn’t even consider it an option but he sometimes threatens it against you to scare you into doing something. But he would never do it. Why would he drain the personality he’s unhealthily obsessed with? He’s too convinced (and delusional) that you will someday return his love.

Bonus: What do others think of their relationship with their darling? Do they try to interfere or intervene?

Before you were exposed to or aware of Micah’s true intentions with you, you were quite defensive when people would question your relationship. Most of the adults in Hemingford that didn’t trust the Gatlin kids tried to urge you to stay away from their crowd or that you shouldn’t be hanging around Micah. You would angrily argue in Micah’s defense that he’s been through a lot and they should leave him alone. You heavily regret ignoring their warnings as now none of them are left alive to save you now. And all of the cult kids don’t care about Micah’s intense infatuation with you, only wanting you to join them.

~

Eli

Affection: How do they show their love and affection? How intense would it get?

Eli’s love language is really just quality time. Before he revealed his true colors and just put up the innocent and charming facade, he showed his affection verbally about what he felt for you through words that made you swoon and flustered. But once the act dropped he only used those romancing words to mock you or emotionally manipulate you. His love is really only shown through his clinginess and how he refuses to be away from you.

Blood: How messy are they willing to get when it comes to their darling?

Very willing. He’s meticulous when it comes to getting rid of someone and plans out each and every death, making sure each one gets their deserved pain. He does most of his killings behind your back but certainly does not keep it as a secret, but that doesn’t mean he isn’t up to slaughter someone in front of you.

Cruelty: How would they treat their darling once abducted? Would they mock them?

Unlike the first three boys, Eli is the only one to actually abduct you. But it’s not like you’re held captive in a basement, you can still roam wherever you want but you just have to basically be Eli’s shadow or him be yours. He won’t bother putting up the soft and charming act anymore so you’re just now more exposed to how much of an evil asshole he can be. He only mocks you if you try to escape.

Darling: Aside from abduction, would they do anything against their darling’s will?

Of course. He really thinks he doesn’t need your permission or approval to do anything. But specifically he forces you into assisting him in his immoral plans.

Exposed: How much of their heart do they bare to their darling? How vulnerable are they when it comes to their darling?

He’s a little nightmare. He’s always keeping you on your toes and can never guess how he’s feeling or what he’s thinking. You can only get a close to accurate guess to his thoughts or feelings if you do or say something that catches him off guard. So if you couldn’t already tell, he doesn’t get very vulnerable with you. He sees it as a sign of weakness and he’ll never lower himself to that level. He’s smug and arrogant and likes playing mind games with you to keep you off the scent of his secret thoughts/feelings. Or he just wants you to figure him out all on your own. Like he makes you play detective just to find out about his past. It’s exhausting.

Fight: How would they feel if their darling fought back?

It’s where he gets some of his entertainment. He knows there is no possible chance of you overpowering him so he finds it cutely pathetic when you try to. He’ll catch your punches and attempted slaps and laugh. He loves how fiesty you are and how you scream at him to let you go and how you wished he would drop dead, you’re so cute when you’re mad and fearful.

He especially loves it when you bring weapons into it. You’re so sure that you’re going to kill him that he can’t help but encourage you.

“Alright then. Come over here and stab me in my chest. Defeat me and end all your suffering. I’m the source of all your problems so go ahead.”

You’re absolutely mortified when you learn through experience that he cannot be killed.

Game: Is this a game to them? How much would they enjoy watching their darling try to escape?

Eli loves games. And your little pathetic attempts of escape are one of his favorites. He finds it cute how naive and hopeful you are. Trying to escape from him is like walking through a haunted house. First he’s right behind you, then he’s gone, then you see his shadow on the far wall, then he’s jumping out at you, and you can swear his voice and shadow are on two opposite sides of the hall. He jumpscares you and loves giving you mini heart attacks. It’s going to be so bad you’re going to wish you never tried to escape in the first place. He also likes playing mind games with you, making you think you have a chance then takes it away when you’re a hair away from it. Like you’re about to open the door to make a run for it, into the public, and he’ll appear and be smug and cocky.

“Go ahead, open the door. Escape your living nightmare once and for all.”

You’ll open the door and boom he’s on the other side of it. And lastly, he fucks with your mind and makes you hallucinate that you did escape just to break it and reveal that you never left.

Hell: What would be their darling’s worst experience with them?

It was the first time you were truly exposed to what Eli was capable of. It was when you became fully aware of Eli’s massacre plan and you got into a huge fight. Naively believing that the little cornfield he grew in the abandoned warehouse was the main source of his powers, you grabbed garden shears and ran over to cut it all down. You heard Eli slowly and calmly approach you from behind and once you turned to look at him he roughly shoved you into the center of the garden. Once you hit the dirt and stood back up you had realized you were in an entirely different place, a massive sized cornfield. You walked for hours as Eli tormented you. You would hear his laugh right by your ear but he was nowhere near you, corpses reached from the dirt to try and grab your legs, and it was as if the corn was alive and closing in on you as well as grabbing onto you temporarily. The third time you broke down while crying out for Eli and begging for his forgiveness and how you swore you would never go against him again, is when Eli finally appeared and took you in his arms and magically pulled you out of the cornfield and back to the warehouse. You clung onto him while sobbing before glancing up to see him sinisterly smirking down at you. It was then you finally felt the true fear of what Eli was.

Ideals: What kind of future do they have in mind for/with their darling?

Although he adores your little game of cat and mouse and how much you struggle and fight, in his ideal future he does want you to eventually love him back so that the two of you can live your immortal lives happily in love in a world of no adults. You’d probably live back in Gatlin surrounded by corn.

Jealousy: Do they get jealous? Do they lash out or find a way to cope?

Eli’s clingy a ridiculous amount, as well as possessive, and wants you all to himself so jealousy is a frequent thing for him. He’s like a toddler with their favorite toy; insanely greedy, won’t let anyone touch it, “no it’s mine, mine, mine!”. He just gets so mad that you’re more happy with others than with him and seem to enjoy their company more than his. What do they have that Eli doesn’t?! They’re pathetic and weak! Even though the rage burns like hellfire inside him, he goes about it calmly. You two will either be sitting next to each other in silence or be back to back in bed at night and his typical smugness will drop, coldly bringing up how he forbids you from talking to the person. He acts just like a scorned wife. But later he’ll kill that very same person, just to be sure the two of you can never interact again.

Kisses: What exactly made them fall for their darling?

Your care about the earth you live on.

Love story: How did they meet their darling? How would they go about courting or approaching their darling?

His adopted “mother” and his brother encouraged him to join a club to make some friends. The only club he was interested in was the gardening club. You were its only member. Not many city kids cared about gardening but that just gave the two of you more alone, one on one, time. At first, he originally planned to only use you for your garden to grow more of his brainwashing corn but the more you spent time together the more interested and attached to you he was. When he accepted that he was more than attracted to you, that's when he started to make moves on you. It was all quite casual as he just used his natural charm and did subtle flirting, and sooner than later you were caught in his web.

Mask: Are their true colors drastically different from the way they act around everyone else?

You’re envious of others who don’t know what he’s really like. With others he puts up this innocent, ingenuous, charming act (the same act he used to woo you and lure you in). Sometimes he’ll pretend to be like that with you but majority of the time you’re exposed to how cruel and wicked he truly is.

Nemesis: Who do they consider a rival?

Eli is overly possessive, ridiculously jealous, and unbearably clingy. So he’ll see basically anyone as a rival if they get too close to you or look at you for too long. Especially every single one of your friends. Also anyone who poses a threat to your relationship with the intention of splitting the two of you up for your safety; teachers, social workers, friends, family, that damn priest. But he shuts it down before those people become a problem.

Obsession: Are they more obsessive or possessive?

He is wildly possessive. He is excessively clingy and wants you all for himself, your attention needs to always be on him and he’s a total brat when it’s not. He’s proprietorial, controlling, and eliminates anyone who poses a threat in separating you two. He owns you and acts like you are his territory.

Patience: How patient are they with their darling?

He has all the time in the world so you are very lucky that he isn’t impatient.

Quit: If their darling dies, leaves, or successfully escapes, would they ever be able to move on?

If you died, Eli’s resurrecting you somehow. I don’t believe he even wants to think about what he would do if you died. Since he’s immortal, he’s aware that age would slowly take you from him so he would find a way to make you immortal as well (even if you’re begging him not to do it).

If you left him, he wouldn’t worry all that much or even beg you to willingly stay like the others would. He would use emotional manipulation to guilt trip you into staying. And if that doesn’t work then he would simply work his demon magic and scare you right back into his arms. He doesn’t care that he’s using fear to keep you with him.

It would be extremely hard to escape Eli, and even harder to stay escaped from him. I actually think it’d be impossible due to the fact he’s a literal demon. So no matter where you go, where you hide, how long you run, Eli will always catch up to you and will always find you. So in hindsight, there is no escaping Eli. I'm truly sorry for you.

Regret: Would they ever feel guilty about abducting their darling? Would they ever let their darling go?

No to both. It’s never even crossed his mind.

Stigma: What brought about this side of them (childhood, curiosity, etc)?

Being an independent demon for so long and not knowing how to deal with romantic emotions.

Tears: How do they feel about seeing their darling scream, cry, and/or isolate themselves?

He finds it all quite funny.

Unique: Would they do anything different from the classic yandere?

Even though he’s extremely clingy, he’s not very touchy and gives less than the average-yandere amount of physical affection, he’s not even that big of a hand holder (but this is all kind of a plus for you since you don’t have to worry about non-consensual touching or forcing affection with you). He’s content with just being near you and having you always by his side.

Vice: What weakness can their darling exploit in order to escape?

I think the only thing you could ever use against him is his Bible. Unless you suck up to him enough to make him slip out a secret weakness, it will take awhile though. But it’s mostly his bible, he doesn’t even like you looking at it which just makes you more suspicious of why he’s so defensive about it.

Wit’s end: Would they ever hurt their darling?

He doesn’t need to. He uses fear to control you and all he has to do is use his mind powers to shake your surroundings to scare you into obeying. His touches are nothing but soft and gentle.

Xoanon: How much would they revere or worship their darling? To what length would they go to win their darling over?

He admires you more than he worships you. His worship is closer to how a scientist would obsessively study an animal, dedicating their life to observing it. He truly thinks you’re the most fascinating, interesting human. He doesn’t really bother with actively trying to win you over, you are his now because he said so and he does not care if you don’t feel the same.

Yearn: How long do they pine after their darling before they snap?

Like Micah, he snaps when you try to leave him.

Zenith: Would they ever break their darling?

Nah. He likes how human you are, how fragile and sensitive and reactive you are. It’s entertaining to him and he knows you’re enough to keep him entertained for centuries. He knows that you’ll grow to love him, you’re stuck with him for eternity after all. And if you really never don’t… well then that’s just gonna suck for you.

Bonus: What do others think of their relationship with their darling? Do they try to interfere or intervene?

The bystanders feel bad for you. Those who haven’t had enough interactions with Eli and only see his sweet and charming act can still see as clear as glass that you are not happy in the relationship, or as happy as you should be, which makes them grow to be suspicious of what Eli is like behind closed doors. And those who are already suspicious of Eli are confused as to why you’re around him so much but after awhile of noticing how fast your smile drops when Eli’s not looking is when they would try to subtly put space between you. Eli always notices right away, being so clingy that he’s sensitive to even being in a different room than you, and always makes sure those people don’t try that ever again. People would reach out to you privately but you would assure them you’re fine and end the conversation quickly out of fear of what Eli would do to either of you if he found out about your exchange.

[byneddiedingo]

John Gilbert, Eleanor Boardman, and Roy D'Arcy in Bardelys the Magnificent (King Vidor, 1926)

Cast: John Gilbert, Eleanor Boardman, Roy D'Arcy, Lionel Belmore, Emily Fitzroy, George K. Arthur, Arthur Lubin, Theodore von Eltz. Screenplay: Dorothy Farnum, Marian Ainslee (titles), based on a novel by Rafael Sabatini. Cinematography: William H. Daniels. Art direction: James Basevi, Richard Day, Cedric Gibbons.

This entertaining swashbuckler was long thought to be lost, apparently because of a contractual agreement between MGM and Rafael Sabatini, author of the novel on which it was based. When the studio failed to renew the rights to the novel in 1936, it destroyed the negative and all the prints it could get its hands on. Fortunately, 70 years later a print surfaced in France, missing only one reel that the restorers pieced together with production stills and footage from the original trailer. It was a good save, especially for the legacy of its director, King Vidor, and its star, John Gilbert. Vidor stages several lively swordfights and a memorable love scene in which Bardelys (Gilbert) woos Roxalanne de Lavedan (Eleanor Boardman) in a boat as it passes through the overhanging branches of a willow tree. But the film's highlight is a spectacular escape from the gallows, in which Gilbert (almost certainly with the help of his stunt double) outdoes Douglas Fairbanks in swinging from ropes and curtains, climbing walls, and fencing with pursuers. The story is romantic nonsense in which Bardelys, a womanizing marquis at the court of Louis XIII (Arthur Lubin) makes a wager that he can win the hand of Roxalanne, who has spurned the advances of the very hissable villain, Châtellerault (Roy D'Arcy). To win the bet, Bardelys finds himself assuming the identity of a man he finds dead, Lesperon (played by Theodore von Eltz in the missing reel), an enemy of the king. Sure enough, he and Roxalanne fall in love under the willows, but his imposture not only turns her against him when she finds proof that Lesperon is engaged to someone else, but also puts him in danger of being hanged for treason, especially after Châtellerault turns up and refuses to disclose that Lesperon is really Bardelys. Dorothy Farnum adapted the novel, and the cinematography is by William H. Daniels. The cast supposedly includes the 19-year-old John Wayne as a guard, in only his second film appearance, but good luck spotting him. 

[davidhudson]

King Vidor, February 8, 1894 – November 1, 1982.

With Eleanor Boardman and John Gilbert on the set of Bardelys the Magnificent (1926).

[ignanimus]

amazing post but I want you all to know about the fat boy painter

he painted fat boys

of course old british classicists (even when wikipedia calls them "Britain's most distinguished historian of ancient Greek art.”) call the style “miserable” and “dispiriting” but I think they’re really cute and soft and kinda reminiscent of old cartoons.

Guys.

Y’all.

I…

I just. I just… i have discovered something. And I have laughed too much. I have laughed every time I have tried to explain it to someone. I cannot get through this.

Look. Okay.

There are two things you need to know, here.

First: There’s a style of Greek pottery that was popular during the Hellenic period, for which most of the surviving examples are from southern Italy. We call them ‘fish plates’ because, well, they’re plates, and they’re decorated with fish (and other marine life).

Like this one, currently in the Met:

Or this one, currently in the Cleveland Museum of Art:

They’re very cool. We’re not 100% sure what they were for, because most of the surviving ones were found as grave goods, but that’s a different post.

The second thing you need to know is that when we (Classics/archaeology/whatever as a discipline) have a collection of artefacts, like vases, sculptures, paintings, etc. and we do not know the name of the artist, but we’re pretty sure one artist made X, Y and Z artefacts, we come up with a name for that artist. There are a whole bunch of things that could be the source for the name, e.g. where we found most of their work (The Dipylon Master) or the potter with whom they worked (the Amasis Painter), a favourite theme (The Athena Painter), the Museum that ended up with the most famous thing they did (The Berlin Painter) or a notable aspect of their style. Like, say, The Eyebrow Painter.

Guess what kind of pottery the Eyebrow Painter made?

[postcard-from-the-past]

Eleanor Boardman and John Gilbert on a vintage postcard

[perfettamentechic]

12 dicembre … ricordiamo …

12 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Stuart Margolin, è stato un attore e regista statunitense. Margolin ha dichiarato di aver condotto un’infanzia da “teppista”, è stato espulso dalle scuole pubbliche del Texas ed è stato mandato dai suoi genitori in un collegio. La sua carriera nel mondo del cinema è iniziata prima degl’anni ’70 e ha diretto programmi televisivi dall’inizio degli anni ’70. Margolin ha scritto diverse canzoni…

[moutainrusing]

secret identity

991 words, @wolfstarmicrofic

Wizarding society sucked. Sirius couldn’t wrap their head around the fact that magical people judged each other for whether or not they were spawned from people who were magical who were spawned from people who were magical—

At sixteen, they decided to run away from not only their blood-supremacist family, but the entire wizarding world.

They assumed the identity of a Muggle named Stubby Boardman.

At first, Sirius didn’t fit in, sticking out like a sore thumb trying to glue itself onto a hand which already had five digits. But Sirius glued themselves on anyway, and like the fact that a hand with six digits seemed a bit different, Sirius let themselves maintain their originality. After all, a hand was a hand. A person was a person.

The digits on your hand would always be different to another’s. The attributes of your person would always be different to another’s.

Muggles had this way of being expressive in different ways to magical kind. While wizardkind would dress in robes, brightly-coloured and flowing, dark-coloured and billowing, Muggles had a bit more than that.

Long, flowing clothes were called dresses, typical for women. Sirius had been surprised when this only made them want to wear dresses more. Have lace swirling around their feet as they swung their hips, their visible hips. To be visible, seen as a beautiful human wearing dresses because they were feminine.

If people wanted to gender clothing, Sirius would take it and mix it up all over again. They wore leather trousers and jackets lined with fur, they wore jeans and hoodies, they grew their hair to their collarbones, where it curled into the dips as if it belonged there. They tied their hair in a ‘man’ bun, in a ‘womanly’ bun, they combined the buns and found their bun, hair sticking out, strands tickling their face, and they had never felt more like themselves.

Sirius let themselves be loose in the right places when they wore dresses, tight in the right places when they wore jeans, conforming and nonconforming, embracing their body in every shape it could come in, emphasising their curves, owning the breadth of their shoulders.

Everywhere they went, they were themselves; everywhere they went, they made friends. Store owners, artists, pub owners, waiters, everyone who was someone. Who was themselves.

The one problem Sirius had was that they weren’t completely themselves. They still introduced themselves as Stubby. Sometimes they thought about dropping the act, risking their parents finding them… then they let go of that dream immediately, because their parents finding them would be a nightmare.

So, taking a breath, Sirius plastered on a grin, ready to introduce themselves as ‘Stubby’ to the shopkeeper of this new charity shop which had caught Sirius’s eye. Talking to people, good people, always made Sirius’s grin real. Which was why they made it their mission to greet everyone they saw, in case it was someone worth grinning for. Because if it was, they deserved the grin so much.

Sirius leaned against the counter. “Hey, I’m Stubby. Nice shop you got here.”

The shopkeeper looked up, shaking his head to the side to move his hair from his eyes. It was very ordinary hair; mousy brown, slightly wavy. Neither shiny nor smooth. But the person who owned it seemed anything but ordinary. Someone to know. Sirius felt their grin widen.

The shopkeeper cleared his throat, “Uh, hi. Thanks, Stubby.” His eyes flicked to the corner, searching for something to say. “I’m John.”

Ordinary name, ordinary hair, but Sirius could dig deeper.

Or John could, because his eyes flicked back to Sirius, lingering on their face. “Sorry, but, uh, what’s your gender? It’s just, I can’t tell, and I don’t want to be rude, but am I rude for asking? Sorry.”

Sirius’s grin became so toothy they felt like a child succeeding in walking. “No, you’re not rude for asking. Don’t be sorry. Actually, thank you for asking. Made my day.”

“...You’re welcome?” John tilted his head to the side, smile shy and crooked.

Sirius tilted their head to meet John’s eyes and matched the smile. “I’m non-binary. Pronouns are they and them. You?”

Blinking, John reeled back. “You can’t tell?” He frowned, “I’m a man.”

Barking a laugh, Sirius cooed, “Aw, have I hurt your fragile masculinity? For what it’s worth, I did use he and him pronouns for you in my head. I just think it’s nice to ask, just in case. Gender isn’t outward appearance. It’s how you feel on the inside.”

John flushed, stuttering, “Yeah, sorry. I know, gender is internal. Um…” He looked up at Sirius, biting his lip, debating something. “When I was younger, uh.” In one rapid breath, “I used to get bullied for not being manly enough.” He flushed even more, and Sirius wanted to cup those cheeks in their palms.

Instead, they crouched down to be on the same eye level as him. “Well, John. You’re the most handsome man I’ve met.”

John seemed hesitant, lips parting, closing in an involuntary smile. Quietly, under his breath, “You’re the prettiest person I’ve met.”

“Oh, person, eh?” Sirius pressed a hand to their chest. “That means I’ve beaten everyone on the planet for you, haven’t I? Sorry, John, but you’ve only beaten all the men for me.”

John laughed, as if that made sense. Which it didn’t.

“I’m kidding,” Sirius admitted. “You’re also the prettiest person I’ve met.” They added, “Men are pretty.”

John timidly whispered, “All.” He cleared his throat, “All are pretty.”

Sirius nodded wisely, “First time you’ve said that aloud, huh?”

“Um. Yeah. I’m telling you a lot of things, even though you’re a stranger I just met. I… sorry.”

Sirius shook their head. “I get it. I like talking to you too.” I want to tell you everything. My name’s Sirius.

Split-second decision. “Secret. My real name’s Sirius.”

John grinned. “Secret. My real name’s Remus.”

“I knew you weren’t ordinary!”

[the-forest-library]

May 2024 Reads

Ready or Not - Cara Bastone

Playing for Keeps - Jennifer Dugan

Right on Cue - Falon Ballard

Truly, Madly, Deeply - Alexandria Bellefleur

Happily Never After - Lynn Painter

Check & Mate - Ali Hazelwood

Love at First Book - Jen McKinlay

Lavash at First Sight - Taleen Vaskuni

Mrs. Quinn's Rise to Fame - Olivia Ford

The Book of Doors - Gareth Brown

Harriet the Invincible - Ursula Vernon

The Amazing Maurice and His Educated Rodents - Terry Pratchett

The Horse and His Boy - C.S. Lewis

Summer: A Solstice Story - Kelsey E. Gross

Dalmartian - Lucy Ruth Cummins

Mr. Postmouse's Rounds - Marianne Dubuc

Mr. Postmouse Takes a Trip - Marianne Dubuc

Bunny's Book Club Goes to School - Annie Silvestro

Yours in Books - Julie Falatko

Be Prepared - Vera Brosgol

Perfect Example - John Porcellino

Diary of a Mosquito Abatement Man - John Porcellino

King-Cat Comics and Stories #74 - John Porcellino

Hawkeye, Volume 4 - Matt Fraction

She-Hulk, Volume 4 - Rainbow Rowell

One Star Wonders - Mike Lowery

My Good Life in France - Janine Marsh

My Four Seasons in France - Janine Marsh

The Backyard Bird Chronicles - Amy Tan

90s Bitch - Allison Yarrow

Stay Sexy & Don't Get Murdered - Karen Kilgariff, Georgia Hardstark

The Land Before Time Management: ADHDinos - Ryan Keats

ADHD is Awesome - Penn Holderness, Kim Holderness

The Planets - Dave Sobel

The Secret History of Bigfoot - John O'Connor

The Age of Magical Overthinking - Amanda Montell

Everyday Vitality - Samantha Boardman

The Autoimmune Cure - Sara Gottfried

The Anxiety Reset Method - Georgie Collinson

Hit 'Em Where It Hurts - Rachel Bitecofer

Bite by Bite - Aimee Nezhukumatathil

Cooking in Real Life - Lidey Heuck

Seriously So Good - Carissa Stanton

Bold = Highly Recommend

Italics = Worth It

Crossed Out = Nope Thoughts:  Favorite fiction of the month: Ready or Not, which takes a whole bunch of tropes I don't love, but makes me love them. Loved the audiobook narrator, as well.

Favorite non-fiction of the month: Bite by Bite, which is a love letter to food and family. Check it out if you like Ross Gay.

Goodreads Goal: 192/200 2017 Reads | 2018 Reads | 2019 Reads | 2020 Reads | 2021 Reads | 2022 Reads | 2023 Reads | 2024 Reads

[theadaptableeducator]

Additional Readings on it all, both popular and academic - An ‘Ism’ Overview - Perspectives Comparing And contrasting art movements

Prehistoric Art:

Palaeolithic Art (40,000 BCE - 10,000 BCE)

Clottes, Jean. Chauvet Cave: The Art of Earliest Times. University of Utah Press, 2003.

Guthrie, Dale. The Nature of Paleolithic Art. University of Chicago Press, 2005.

Vanhaeren, Marian, et al. "Middle Paleolithic shell beads in Israel and Algeria." Science, vol. 312, no. 5781, 2006, pp. 1785-1788.

Marshack, Alexander. "Upper Paleolithic notation and symbol: a provisional framework." Man, vol. 16, no. 1, 1981, pp. 95-122.

Neolithic Art (10,000 BCE - 2,000 BCE)

Renfrew, Colin, and Paul G. Bahn. Archaeology: Theories, Methods and Practice. 7th ed. London: Thames & Hudson, 2016.

Hodder, Ian. The Leopard's Tale: Revealing the Mysteries of Catalhoyuk. New York: Thames & Hudson, 2006.

Whittle, Alasdair, and Vicki Cummings. "Going over: People and things in the early Neolithic." Proceedings of the British Academy 144 (2007): 33-58.

Soffer, Olga. "The Upper Paleolithic and the Neolithic in the Russian Plain: Problems of Continuity and Discontinuity." Journal of World Prehistory 4, no. 4 (1990): 377-426.

Ancient Art:

Egyptian Art (3100 BCE - 30 BCE)

Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt. Thames & Hudson, 2003.

Robins, Gay. The Art of Ancient Egypt. Harvard University Press, 2008.

Freed, Rita E. “The Representation of Women in Egyptian Art.” The Journal of Egyptian Archaeology, vol. 81, 1995, pp. 67-86.

Redford, Donald B. “The Heretic King and the Concept of the ‘Golden Age’ in Ancient Egypt.” Journal of Near Eastern Studies, vol. 33, no. 4, 1974, pp. 365-371.

Greek Art (800 BCE - 146 BCE)

Boardman, John. The Oxford History of Greek Art. Oxford University Press, 2001.

Pollitt, J. J. Art and Experience in Classical Greece. Cambridge University Press, 1972.

Neer, Richard T. "The Emergence of the Classical Style in Greek Sculpture." American Journal of Archaeology, vol. 105, no. 2, 2001, pp. 255-280.

Osborne, Robin. "Greek Art in the Archaic Period." The Journal of Hellenic Studies, vol. 115, 1995, pp. 118-131.

Roman Art (509 BCE - 476 CE)

Beard, Mary. SPQR: A History of Ancient Rome. New York: Liveright Publishing Corporation, 2015.

Brilliant, Richard. Roman Art. New York: Thames & Hudson, 2012.

Kleiner, Diana E. E. "Roman Sculpture." Oxford Art Journal 26, no. 1 (2003): 49-63.

Stewart, Peter. "The Social History of Roman Art." Cambridge Archaeological Journal 7, no. 1 (1997): 83-96.

Medieval Art:

Early Christian Art (200 CE - 500 CE)

Robin Margaret Jensen, Understanding Early Christian Art (New York: Routledge, 2000).

William Tronzo, The Oxford Handbook of Early Christian Art (New York: Oxford University Press, 2014)

Herbert Kessler, "The Spiritual Matrix of Early Christian Art," Representations, no. 11 (1985): 96-119, doi:10.2307/2928505.

Jas' Elsner, "What Do We Want Early Christian Art to Be?" Religion Compass 2, no. 6 (2008): 1118-1138, doi:10.1111/j.1749-8171.2008.00091.x.

Byzantine Art (330 CE - 1453 CE)

Cormack, Robin. Byzantine Art. Oxford: Oxford University Press, 2000.

Mango, Cyril. The Art of the Byzantine Empire, 312-1453: Sources and Documents. Englewood Cliffs, NJ: Prentice-Hall, 1972.

Mango, Cyril. "Byzantine Architecture." The Grove Dictionary of Art Online. Oxford Art Online. Oxford University Press, accessed March 19, 2023. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000002606.

Evans, Helen C. "Byzantium and the West: The Reception of Byzantine Artistic Culture in Medieval Europe." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4 (Spring, 2001): 3-44. JSTOR, https://www.jstor.org/stable/3269056.

Islamic Art (7th century CE - present)

Grabar, Oleg. Islamic Art and Literature. Princeton, NJ: Princeton University Press, 1984.

Bloom, Jonathan M. and Sheila S. Blair. Islamic Arts. London: Phaidon Press, 1997.

Blair, Sheila S. "The Mosque and Its Early Development." Muqarnas 10 (1993): 1-19.

Carboni, Stefano. "The Arts of Islam." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4, 2001, pp. 5-6, 17-65.

Romanesque Art (11th century - 12th century)

Conrad Rudolph, "Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art," (Princeton, NJ: Princeton University Press, 1990).

George Henderson, "Early Medieval Art: Carolingian, Ottonian, Romanesque," (London: Thames & Hudson, 1972).

C. R. Dodwell, "The Dream of Charlemagne," The Burlington Magazine 118, no. 875 (1976): 330-341.

Gerardo Boto Varela, "The Iconography of the Lamb and the Role of the Temple in the Creation of the Romanesque Architectural Sculpture in the Kingdom of León," Gesta 43, no. 2 (2004): 171-186.

Gothic Art (12th century - 15th century)

Camille, Michael. Gothic Art: Glorious Visions. New York: Harry N. Abrams, 1996.

Conrad Rudolph. Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art. Princeton, NJ: Princeton University Press, 1990.

Kemp, Simon. "The Uses of Antiquity in Gothic Revival Architecture." The Art Bulletin 73, no. 3 (1991): 405-421.

Snyder, James. "Gothic Sculpture in America: The Late 19th Century." The Journal of the Society of Architectural Historians 34, no. 4 (1975): 286-304.

Renaissance and Baroque Art:

Renaissance Art (14th century - 17th century)

Gardner, Helen, et al. Gardner's Art Through the Ages: A Global History. 16th ed., Cengage Learning, 2019.

Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. University of Chicago Press, 1980.

Baxandall, Michael. "The Period Eye." Renaissance Studies, vol. 1, no. 1, 1987, pp. 3-20. JSTOR, www.jstor.org/stable/24409669.

Freedberg, David. "Painting and the Counter Reformation." Journal of the Warburg and Courtauld Institutes, vol. 32, 1969, pp. 244-262. JSTOR, www.jstor.org/stable/750844.

Mannerism (1520 - 1580)

Freedberg, S. J. (1993). Painting in Italy, 1500-1600. Yale University Press.

Shearman, J. (1967). Mannerism. Penguin Books.

Cole, B. (1990). Virtue and magnificence: Leonardo's portrait of Beatrice d'Este. Artibus et historiae, 11(21), 39-58.

Baxandall, M. (1965). "Il concetto del ritmo" in Michelangelo's Entombment. Journal of the Warburg and Courtauld Institutes, 28, 9-29.

Baroque Art (1600 - 1750)

Gombrich, E. H. The Story of Art. 16th ed. Phaidon Press, 1995.

Harris, Ann Sutherland. Seventeenth-Century Art and Architecture. 2nd ed. Laurence King Publishing, 2005.

Haskell, Francis. "The Judgment of Solomon: Poussin's 'The Sacrament of Ordination' and the Critics." The Burlington Magazine, vol. 124, no. 948, 1982, pp. 275-284.

Brown, Jonathan. "The Golden Age of Dutch Art: Painting, Sculpture, Decorative Art." The Metropolitan Museum of Art Bulletin, vol. 64, no. 4, 2007, pp. 36-44.

Rococo (1715 - 1774)

Gauvin Alexander Bailey, The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia, (New York: Cambridge University Press, 2014).

Alastair Laing, ed., Rococo: Art and Design in Hogarth's England, exh. cat. (London: Victoria and Albert Museum, 1984).

Alina Payne, "Fragile Alliances: Rococo and the Enlightenment," Art Bulletin 85, no. 3 (2003): 540-564.

Melissa Lee Hyde, "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century," Journal of Design History 21, no. 3 (2008): 219-23

19th Century Art:

Neoclassicism (1750 - 1850)

Wölfflin, Heinrich. Principles of Art History. Translated by M. D. Hottinger, Dover Publications, 1932.

Rosenblum, Robert. Transformations in Late Eighteenth Century Art. Princeton University Press, 1967.

Praz, Mario. "The Eighteenth-Century Elegiac Mood: Some Clarifications and Distinctions." Eighteenth-Century Studies, vol. 2, no. 3, 1969, pp. 295-318.

Honour, Hugh. "The Ideal of the Classic in the Visual Arts." Journal of the Warburg and Courtauld Institutes, vol. 22, no. 1/2, 1959, pp. 1-25.

Romanticism (1800 - 1850)

Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford University Press, 1971.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. Oxford University Press, 1973.

Frye, Northrop. "Towards Defining an Age of Sensibility." Studies in Romanticism, vol. 1, no. 1, 1962, pp. 1-14.

Mellor, Anne K. "Possessed by Love: The Female Gothic and the Romance Plot." PMLA, vol. 102, no. 2, 1987, pp. 134-150.

Realism (1830 - 1870)

Mearsheimer, John J. The Tragedy of Great Power Politics. New York: W.W. Norton, 2001.

Walt, Stephen M. The Origins of Alliances. Ithaca: Cornell University Press, 1987.

Waltz, Kenneth N. "The Theory of International Politics." International Security 15, no. 1 (Summer 1990): 5-17.

Morgenthau, Hans J. "Politics Among Nations: The Struggle for Power and Peace." Foreign Affairs 28, no. 4 (July 1950): 566-583.

Impressionism (1860 - 1900)

Herbert, Robert L. Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press, 1988.

Moffett, Charles S. Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1985.

Smith, Paul. "Monet's Impressionism: Aesthetic and Ideological Dilemmas." The Art Bulletin 68, no. 4 (1986): 595-615.

Dumas, Ann, and Anne Distel. "Monet at Vetheuil: The Turning Point." The Burlington Magazine 124, no. 953 (1982): 350-58.

Post-Impressionism (1886 - 1905)

Paul Smith, ed., "Post-Impressionism" (New York: Rizzoli International Publications, 1988).

Richard R. Brettell, "Post-Impressionists" (Chicago: University of Chicago Press, 1987).

John House, "Post-Impressionism: Origins and Practice" in "Oxford Art Journal" vol. 6, no. 2 (1983): 3-16.

Patricia Mainardi, "The End of Post-Impressionism" in "Art Journal" vol. 43, no. 4 (1983): 308-313.

20th Century Art:

Fauvism (1900 - 1910)

Elderfield, John. Fauvism. New York: Museum of Modern Art, 1976.

Shanes, Eric. The Fauves: The Reign of Color. New York: Harry N. Abrams, 1995.

Hargrove, June. "Matisse, Fauvism, and the Rediscovery of Pure Color." The Art Bulletin 63, no. 4 (1981): 689-704.

Rewald, John. "The Fauve Landscape." Gazette des Beaux-Arts 79, no. 6 (1972): 287-304.

Cubism (1907 - 1914)

Cooper, Douglas. The Cubist Epoch. Phaidon Press, 1970.

Green, Christopher. Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928. Yale University Press, 1987.

Shiff, Richard. "Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art." The Art Bulletin, vol. 58, no. 4, 1976, pp. 529-555.

Barr, Alfred H. "Cubism and Abstract Art." The Museum of Modern Art Bulletin, vol. 1, no. 3, 1934, pp. 6-7.

Futurism (1909 - 1916)

Marinetti, Filippo Tommaso. Futurist Manifestos. Edited by Umbro Apollonio, translated by Robert Brain and Others, Thames and Hudson, 1973.

Leighten, Patricia. Futurism: An Anthology. Yale University Press, 2019.

Perloff, Marjorie. "Futurism's 'Futuricity'." Modernism/modernity, vol. 19, no. 2, 2012, pp. 247-263.

Santoro, Marco. "The Politics of Speed: Futurism and Fascism." The Journal of Modern History, vol. 87, no. 4, 2015, pp. 821-856.

Dadaism (1916 - 1924)

Hulsenbeck, Richard. Dada Almanach. Berlin: Erich Reiss, 1920.

Gale, Matthew. Dada & Surrealism. London: Phaidon, 1997.

Naumann, Francis M. "Dada and the Concept of Art." The Art Bulletin 69, no. 4 (1987): 634-651. https://www.jstor.org/stable/3051041.

Dadoun, Roger. "The Dada Effect: An Anti-Aesthetic and its Influence." October 66 (1993): 3-16. https://www.jstor.org/stable/778760.

Surrealism (1920 - 1940)

Breton, André. Manifestoes of Surrealism. Translated by Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press, 1972.

Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978.

Martin, Alyce Mahon. "Surrealism and the Spanish Civil War." Oxford Art Journal 20, no. 2 (1997): 77-89.

Weisberg, Gabriel P. "Surrealism in America: The Beginning." Art Journal 28, no. 3 (1969): 222-29.

Abstract Expressionism (1940 - 1960)

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959.

Alloway, Lawrence. "Networks, Names and Numbers." Artforum 1, no. 2 (1962): 29-33.

Hess, Thomas B. "Abstract Expressionism." Art News 51, no. 9 (1952): 22-23, 45-46, 48-49.

Pop Art (1950s - 1960s)

Foster, Hal. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.

Livingstone, Marco, ed. Pop Art: A Continuing History. Thames & Hudson, 2013.

Alloway, Lawrence. “The Arts and the Mass Media.” Architectural Design and the Arts and Crafts Movement, vol. 31, no. 9, 1961, pp. 346–349. JSTOR, www.jstor.org/stable/4228719.

Lippard, Lucy R. “Pop Art.” Art International, vol. 12, no. 8, 1968, pp. 24–31. JSTOR, www.jstor.org/stable/24889088.

Minimalism (1960s - 1970s)

Judd, Donald. Complete Writings, 1959-1975. New York: The Press of the Nova Scotia College of Art and Design, 1975.

Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998.

Lippard, Lucy. "Eccentric Abstraction." Art International, vol. 12, no. 2, 1968, pp. 24-27.

Krauss, Rosalind. "Sculpture in the Expanded Field." October, vol. 8, 1979, pp. 30-44.

Conceptual Art (1960s - 1970s)

Kosuth, Joseph. Art after Philosophy and After: Collected Writings, 1966-1990. Cambridge, MA: MIT Press, 1991.

Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997.

Buchloh, Benjamin H.D. “Conceptual Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter 1990): 105-143.

Graham, Dan. “The End of Liberalism.” In Dan Graham: Rock My Religion. Edited by Brian Wallis, 31-59. Cambridge, MA: MIT Press, 1993.

Performance Art (1970s - present)

Abramovic, Marina. The Artist Is Present: Essays. New York: Museum of Modern Art, 2010.

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.

Goldberg, RoseLee. "Performance Art: From Futurism to the Present." October 56 (1991): 78-89.

Jones, Amelia. "Presence in Absentia: Experiencing Performance as Documentation." Art Journal 56, no. 4 (1997): 11-18.

Postmodernism (1970s - present)

Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.

Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.

Butler, Judith. "Contingent Foundations: Feminism and the Question of ‘Postmodernism’." The Journal of Philosophy, vol. 86, no. 10, 1989, pp. 571- 577.

Harvey, David. "The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change." Blackwell Publishers Ltd, 1990.

Digital Art (1980s - present)

Lev Manovich, The Language of New Media, (Cambridge, MA: MIT Press, 2001).

Christiane Paul, Digital Art, (New York: Thames & Hudson, 2008).

Sarah Cook and Beryl Graham, "From Periphery to Centre: Locating the Technological in Art History," Art History 28, no. 4 (September 2005): 514-536, https://doi.org/10.1111/j.1467-8365.2005.00442.x.

Oliver Grau, "The Complexities of Digital Art," in MediaArtHistories, ed. Oliver Grau (Cambridge, MA: MIT Press, 2007), 45-67.

Street Art (1980s - present)

Chaffee, Lyman, and Chris Stain. Walls of Heritage, Walls of Pride: African American Murals. Jackson: University Press of Mississippi, 2011.

Harrington, Steven. Street Art San Francisco: Mission Muralismo. San Francisco: Chronicle Books, 2009.

Schacter, Rafael. "The World Atlas of Street Art and Graffiti." The Journal of Aesthetics and Art Criticism 73, no. 4 (2015): 385-387.

Riccini, Raffaele. "Street Art as a New Form of Urban Governance: A Comparative Perspective." Urban Affairs Review 52, no. 5 (2016): 723-746.

Contemporary Art:

Neo-Expressionism (1980s - 1990s)

Storr, Robert. 1986. "Dislocations: Themes and Meanings in Post-World War II Art." New York: Museum of Modern Art.

Harrison, Charles, and Paul Wood. 1991. "Art in Theory 1900-1990: An Anthology of Changing Ideas." Oxford: Blackwell Publishers.

Bois, Yve-Alain. 1986. "Painting: The Task of Mourning." October 37 (Summer): 15-63.

Krauss, Rosalind E. 1985. "The Originality of the Avant-Garde and Other Modernist Myths." Cambridge, Mass: MIT Press.

Installation Art (1990s - present)

Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.

O'Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. 2nd ed. Chicago: University of Chicago Press, 1999.

Schneider, Rebecca. "The Explicit Body in Performance." TDR: The Drama Review 46, no. 2 (2002): 74-91. doi:10.1162/105420402320980586.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79. doi:10.1162/0162287042379787.

Relational Aesthetics (1990s - present)

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 1998.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

O'Doherty, Brian. "Inside the White Cube." Artforum 5, no. 1 (1967): 12-16.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79.

New Media Art (1990s - present)

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001.

Paul, Christiane. Digital Art. London: Thames & Hudson, 2003.

Gere, Charlie. "Digital Culture." In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 491-506. New York: Oxford University Press, 2013.

Drucker, Johanna. "The Century of Artists' Books." Art Journal 56, no. 3 (1997): 20-34.

Superflat (1990s - present)

Murakami, Takashi. Superflat. New York: MADRA Publishing, 2000.

Schimmel, Paul. Color and Form: The Geometric Sculptures of Donald Judd. Los Angeles: Museum of Contemporary Art, 1991.

Krajewski, Sara. "Superflat and the Politics of Postmodernism." Postmodern Culture 14, no. 3 (2004): 1-18. doi:10.1353/pmc.2004.0046.

Nakamura, Lisa. "Cuteness as Japan's Millennial Aesthetic." Journal of Aesthetics and Art Criticism 65, no. 2 (2007): 137-147. doi:10.1111/j.1540-6245.2007.00207.x.

Post-Internet Art (2000s - present)

Hito Steyerl, The Wretched of the Screen (Berlin: Sternberg Press, 2012).

Karen Archey and Robin Peckham (eds.), Art Post-Internet: INFORMATION/DATA (Berlin: Sternberg Press, 2014).

Gene McHugh, "Post-Internet: Art After the Internet," Artforum International 52, no. 1 (2013): 366-71.

Nora N. Khan and Steven Warwick, "Fear Indexing the X-Files," e-flux Journal 56 (2014): 1-9.

Afrofuturism (2000s - present)

Sheree R. Thomas, ed., "Dark Matter: A Century of Speculative Fiction from the African Diaspora" (New York: Aspect/Warner Books, 2000).

Ytasha L. Womack, "Afrofuturism: The World of Black Sci-Fi and Fantasy Culture" (Chicago: Lawrence Hill Books, 2013).

Nettrice R. Gaskins, "Afrofuturism and Post-Soul Possibility in Black Aesthetics," "Journal of Black Studies" 40, no. 4 (2010): 699-710.

Reynaldo Anderson and Charles E. Jones, "Introduction: The Rise of the Afrofuturist," "Black Magnolias Journal" 5, no. 2 (2018): 1-11.

Socially Engaged Art (2000s - present)

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

Kester, Grant. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Kester, Grant. "Dialogical Aesthetics: A Critical Framework for Littoral Art." in Theory in Contemporary Art since 1985. Ed. by Simon Leung. Oxford: Blackwell, 2005.

Thompson, Nato. "Living as Form: Socially Engaged Art from 1991-2011." Art Journal, Vol. 71, No. 1, 2012, pp. 101-102.

Environmental Art (2000s - present)

Schama, Simon. Landscape and Memory. New York: Alfred A. Knopf, 1995.

Kastner, Jeffrey, and Brian Wallis, eds. Land and Environmental Art. London: Phaidon, 1998.

Kagan, Sacha. "The Nature of Environmental Art." The Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 455-67.

White, Edward. "Earthworks and Beyond." Art Journal 39, no. 4 (1980): 326-32.

NFT Art (2010s - present)

Belamy, Christies. (2018). Portrait of Edmond de Belamy. Paris: Obvious Art.

Harrison, P., & Weng, S. (2021). The NFT Bible: Everything you need to know about non-fungible tokens. United States: Independently published.

Liu, Z., Wang, J., & Lin, L. (2021). From NFT to NFA: The Implications of Blockchain for Contemporary Art. Journal of Cultural Economics, 45(2), 245-264. doi: 10.1007/s10824-021-09421-6

Schellekens, M., & Zuidervaart, H. (2022). On the Importance of Being Unique: An Analysis of Non-Fungible Tokens as a Medium for Digital Art. Leonardo, 55(1), 56-63. doi: 10.1162/leon_a_02179

[seoafin]

Hi Morgan! I hope you’re doing okay and wish you the best with the grad school stuff!! I was wondering how you did your Oregon coast trip and if you would mind sharing your itinerary? Did you roadtrip it/take the train?

of course I can share it!!! i just copied and pasted it below but i 100% recommend otter crest loop and Samuel H. Boardman State Scenic Corridor which were the highlights!!!!

my friend and i rented a car! for 5-6 days it came out to roughly $300 so ~$150 split

Portland Powell's City of Books Carver cafe (Twilight diner) Voodoo Doughnut The Grotto

Roadtrip portion Canon Beach Ecola State Park Breakfast at Osprey Cafe Lighthouse Oswald State Park Tillamook Creamery Cape Meares State Park Neskowin Beach/Ghost Forest Breakfast at Otis Cafe Depoe Bay Scenic Park Otter Crest State Scenic Viewpoint Devils Punchbowl Arch Moolach Beach Yaquina Head Lighthouse Devil’s Churn Viewpoint John Dellenback Dunes Trailhead Gold Beach Samuel H. Boardman State Scenic Corridor Harris Beach State Park Redwood Forest

[winnix85]

While we are on this topic

Lewis Nixon was from Nixon, New Jersey, a town named after his family.

Katharine Page was from Page, Arizona, a town named after her family. (John Boardman Page was Kathy’s brother)

Doris Ryer was from Ryer island, California, an island named after her family. 

[majingojira]

Dinosaur Music

There are 4 Elements to making Good Dinosaur Music. The first three to appear in film are:

Mystery Might Melancholy Dinosaurs and other prehistoric animals have been with us since the dawn of cinema. Their films helped define movie music going forward (King Kong), but there are elements to them that I find interesting to look at.

King Kong, composed by Max Steiner, established a lot of what we see not just in dinosaur music, but in music in movies overall. The bombast of action movie scores, but it encapsulates the first three Ms of Dinosaur Music.

Kong's theme is a prime example of melancholy (It's three notes on a descending scale), but the real key Dinosaur piece of music is The Bronte.

After this, we get The Rite of Spring, where Stravinsky's suite of the toil of farm labor is turned to evolution and prehistory by Disney animation at the height of their powers. This defined the 'stone age' of dinosaur media music as much as Kong did.

Not much changed for decades, and those changes can best be illustrated by one of the more fanciful dinosaurs of the 1950s.

The march became the go-to style for dinosaur music to show off the might of the prehistoric monster thanks to Godzilla and friends (and Akira Ifukube).

I think the best 'typical' example from this period goes to One Million Years B.C. by Mario Nascimbene mixing marches and the toil of Rite of Spring into a pretty rousing theme.

In 1977, BBC Horizon and PBS NOVA published a documentary: "The Hot-Blooded Dinosaurs," brinring the Dinosaur renaissance to the public for the first time. While Dinosaur Music got... weird.

We got The Legend of the Dinosaurs and Monster Birds with its deeply inappropriate and funky soundtrack, the power ballad for The Last Dinosaur, and the out-there synth scored Planet of Dinosaurs.

The themes of Might, Melancholy, and Mystery are in full force, but things were changing about how they were balanced. The Melancholy began to lose its toil, and something was growing.

Jerry Goldsmith's score for Baby: Secret of the Lost Legend is the easiest to find an example of for this mid-period. It's one of his favorites and he has every right to be proud of it (even if the movie ain't that great).

The Mystery and Might gain prominence over the melancholy of everyday life. What melancholy remains goes to their loss.

Documentaries actually pick up the thread here and get proper soundtracks. Dinosaur! hosted by Christopher Reeves (1985) does not have a soundtrack release, but the Synth scores by Peter Scherer and John Holbrook captures the moment in dinosaur media quite well.

A series of documentaries hosted by Gary Owns and Eric Boardman about Dinosaurs (and other prehistoric animals) does have a soundtrack release and for a documentary, it's a pretty solid set. (Music for Dinosaurs by David Spear). It's very hard for me to pick just one track from this list. "I Need More Dinosaurs," "The Mystery of Extinction," "Rex's Late-Night Snack," "The Puzzle of Paleontology," and "Fossil Impressions" hit a lot of what I'm talking about, but they definitely lean into the Mystery aspect of them all.

I also have a soft spot for the up-beat-ness of the Son of Dinosaurs Main Title.

1989's "The Great Dinosaur Hunt" (an episode of The Infinite Voyage) had a synth/orchestral soundtrack from Jack Illar and William Loose. This was the last gasp of truly melancholic themes to the overall soundtrack of dinosaur films. Though, again, the melancholy is no longer focused not on the brutality of ancient life, but on the loss of animals the documentary itself describes as "truly magnificent."

Then in 1993, everything changed when Jurassic Park added a new "M" to the trio.

Majesty.

John William's score for Jurassic Park changed the game for dinosaur music as the film changed how dinosaurs were seen in the public eye.

After John Williams, composers like Ben Bartlett (Walking with Dinosaurs and its related follow-ups) picked up and carried the torch for dinosaurs that were not just Mysterious, Mighty, and evoke Melancholy at their loss, but were truly Majestic.

While Movie Soundtracks are now in a low form given directors keep using Premier and other editing programs to edit things to music before that music is delivered, one last truly great Dinosaur soundtrack came out. No, not from Jurassic World (though I must give props to the opening of Fallen Kingdom).

But from Prehistoric Planet.

Now, Majesty is at the forefront. No hint at the melancholy of their loss. Their might is in the backseat to their beauty and strangeness. Mystery is no longer a factor, even though there is still so much to learn. Now, they are treated like animals in the fullest sense of the documentary experience. The theme, and overall music, by Hanz Timmer, Andrew James Christie, Anze Rozeman, and Kara Talve contribute a lot to the success of the documentary. It's not just the theme people remember, but music for specific scenes. Modern movies can't even boast that.

Dinosaur have truly evolved.