#maternal alice

[bietrofastimoff23]

remember how Alicent rushed at Aegon after the incident with the eye, accusing him of not keeping track of Aemond? just imagine a parallel where, at the bedside of Aegon, whose life hangs in the balance, Alicent, in a fit of weakness and fear, with tears in her eyes, grabs Aemond by the shirtfront and shakes him, accusing asking him why he did not protect his brother.

[baylardian-1]

Chakotay moved swiftly past him, stopping just short of Janeway and taking her hands in his. She offered him a tight smile and nod, which he returned before guiding her gently back to stand beside him and Mattings.

Wanted to draw the reunion they have in Atonement when Chakotay saves Kathryn from her trial in front of the Kinara. :)

Little collaby with @maliciousalice. She fixed my original drawing and then I colored.

[pookiebearhelaena]

all the madness abt the finale aside, ik alicent hate has always largely been abt the “parasocial” relationship people have with rhaenyra bc the locals be fantasizing about “big sis nyra protecting and saving her little brothers from their big, bad, abusive mother🥺🥺 if only she’d been their mother” and all the comments will be talking about how alicent ruined everything and rhaenyra loved her siblings so much, as if rhaenyra didn’t resent aegon since he was zero years old.

[thedeathofduty]

This album art is giving me modern au rhaenicent vibes

[baby-girl-aaron-dessner]

Alicent saying, “sadness is a condition of motherhood” has so many layers.

To some extent, this follows the pattern of her trying to attribute meaning to her pain through persuading herself that things are the way they are and cannot be changed. It echoes Alicent’s conversation with Rhaenys when she said, “We do not rule, but we may guide the men that do.” She is someone who has succumbed to the status quo. Why is this the case? Probably because Alicent has been moulded as a pawn by her father and used as a child bride while having 4 children raped into her. Her line of reasoning is a coping mechanism to deal with her suffering.

And now, she attempts to pass on that thinking to her own daughter. This shines light on the long tradition of how women justify their pain.

[alicentflorent]

Alicent may not be the best mother but she will literally use her entire body to shield her children from danger, willing to take the brunt of it herself. It doesn’t matter how old they are or if it’s a dragon or an angry mob. Alicent will give her life for her children in an instant.

[bbygirl-aemond]

aegon: aemond, did you drink my fucking wine? aemond: if i say yes, what's going to happen? aegon: i'll bash your face in. aemond, looking behind him: can you say it again, for the people in the back? aegon: I SAID I'M GOING TO BASH YOUR FUCKING FACE IN- alicent, materializing in front of aemond: aegon, i know you aren't out here threatening my baby. aegon: but mother, he drank my wine! alicent, who has not touched alcohol in a decade: i drank it. come bash my face in. aegon, throwing up his hands: well i'm not going to do it to you- alicent: that's what i thought.

[dirtytransmasc]

Alicent, exhausted, being forced to present her son to Viserys, panic in her eyes, hoping he is good enough for her husband:

[hetagrammy]

This might be controversial, but I've never had this idea of Britannia as being a particularly warm maternal figure. Like, I think she definitely loved her kids, but she was more concerned with their survival than with letting them be children if that makes sense. Her way of showing love was trying her damndest to protect them, and to make sure they could survive on their own after she was gone. It was less explicit "I love you"'s and more compliments on their progress or stern scoldings when they'd gotten themselves into danger. The British Isles Siblings are hard pressed to remember the last time their mother hugged them or sang to them, but they remember her pressing a blade into their hands, kissing their foreheads, and telling them to be brave. They know their worth because of her, but what tenderness they gained they learned elsewhere.

[crocodile-carousel]

baby pics :)

[raspberrysmoon]

does grace know abt ophelia grace? what are her thoughts?

grace vaguely knows ophelia exists. she knows max has some kind of younger sibling, but they're not close so theyve never met

[alicent-archive]

I am such a Simp for ep 3 Alicent

[dulcewrites]

I know this isn’t going to happen but if fmo reader does end up cheating my petty bisexual ass wants it to be with Alicent

Aemond pissed her off so much she fucked his mom💅

Can you imagine the repercussions to their close mother son relationship? Reader just emotionally burning down everyone in the family that didn’t gave her back💕

Not reader running through the Hightower/targ family like tomb raider

[redcarpet-streetstyle]

[kellymrichman]

Conference Paper: ‘Maternal Bodies: Individual, Collective, Other’, The Maternal Bodies Network Symposium

Paper: ‘Hardly a Heavenly Body: Alice Neel’s ‘Degenerate Madonna’ and the Antibeauty of Maternal Labour’ 

20-minute presentation at the ‘Maternal Bodies: Individual, Collective, Other’ Symposium on June 15, 2023, at the University of Birmingham.

Abstract:

During a severe mental breakdown triggered by child loss in 1931, American artist Alice Neel (1900–1984) painted 'Degenerate Madonna', a bleak study of maternal labour. Seated barefoot before a blood-red wall, the painting’s weary subject—the visual antithesis of the Virgo Lactans (‘Nursing Virgin’) of the Middle Ages—unsuccessfully attempts to breastfeed a pallid child propped on her lap. Contemporary analyses of 'Degenerate Madonna' obsessively gravitate toward the unidealised appearance of the figure’s exposed breasts, which scholars and critics have described as ‘witchy teats’, ‘serpents’, ‘bloody daggers’, and ‘far from nurturant or charming . . . like bells, announcing death, pointy, empty’.

While such dehumanising descriptors align with the haunting nature of the painting, they perpetuate harmful false equivocations about maternal labour and, as a result, construct ‘ordinary’ childbearing bodies as inadequate. This limited scope also overlooks the artist’s possible intentions and plausible inspirations, which are seldom considered in the context of 'Degenerate Madonna'. Using case studies, this paper explores these factors, which include: Leftist ideologies and New Deal art; the artist’s encounters with non-Western sculpture at the Metropolitan Museum of Art; and, most significantly, Neel’s complicated views on both childbearing and childrearing.

With these models in mind, one may begin to consider that the 'degenerate' mother’s breasts are not ‘witchy’, serpentine, or lethal; they are simply an unidealised interpretation of the maternal body. As such, the supposed ‘emptiness’ of the figure’s breasts does not necessarily denote a mother who is ‘far from nurturant’; it could, rather, signify the ‘antibeauty’—a term coined by Linda Nochlin in 2006—of a mother who has given so much to her infant that she has nothing more to offer. If this is the case—that Neel’s ‘degenerate’ mother desires to sustain her child but can’t— then what makes the figure ‘degenerate’?

[emily-in-crisis]

shane and shay's bond always gets me. like that's truly her baby y'all 😭