#moran icons

[neutron669]

Earl Moran - Reclining Nude" - 1940 Calendar Illustration

[screenshotingmonstertv]

[moviesycho]

Kyle Maclachlan as Dale Cooper in Twin Peaks (1990-1991)

[lizxiely]

The Wiggles icons

︶꒷꒦︶·:¨༺ ★ ༻¨:·.︶꒷꒦︶

the ogs, phillip, & sam

1 • 2

︶꒷꒦︶·:¨༺ ★ ༻¨:·.︶꒷꒦︶

[editfandom]

Twin Peaks, S02E16

[pepperbag76]

🌹 Dolores Moran ‘43

[mouthmoodz]

i need to start dressing like i'm a girl in twin peaks

[gt-icons]

Site Model Icons

‒ like or reblog if you save

[velvetlouves]

aisli from melladaze & flo layouts! 🤍

[queenbeeibee]

Alt! @king-of-wrath

@king-of-wrath

"...So you're him, huh? The Burning Man." Chet Moran, a young man from Alabama, stood before the King of Wrath, his head held high. "Mighty sorry you've come all this way for nothin'. These kids are gettin' to the Elysium Fields, one way or another. And if I gotta go through you to get them there...well." He reached down to pull his grandfather's pistol from his belt with one hand; the other was holding a baby close to his chest. He aimed it at the Demon's face, his hold steady and true. "I will."

[feveredblurs]

❛ how long has it been since you've slept? ❜ rowan to aisling

@apaise

rowan’s voice sounds distant, drowned out by the cranking up and pressing down of her machines – twisting steel and weaving it into keftas meant for the new recruits. there was once a time where aisling loved doing it all by hand. but with tension growing between the nations, ravka’s enemies approaching the frontlines by the hour, the materialki’s priorities had changed. any tasks falling under tried and true methods were now given to mechanical devices, to repeat the process over and over. though aisling had built them herself, she couldn’t even take pride in what she had accomplished. what was she working towards at the end of the day?

only when she turns around and is met with a concerned look on rowan’s face does aisling become aware of herself. the ink stains on her hands – a side effect of her frantic note taking –, her bunched up skirts and messy hair branching in all directions. she imagines she must look exhausted too, judging by the other’s question.

“ yes, well... ” aisling trails off into deafening silence. she doesn’t remember. was it day or night when she walked into her shop? had she eaten at all? “ it’s really fine. ” she shakes her head, willing a smile onto her lips as she pushes up her goggles. “ the darkling has requested these to be ready before her next trip. ” the nets meant to trap the sea whip were looking none too sturdy yet, still broken into pieces.

how could she build something strong enough to hold the fabled ice dragon? it didn’t feel natural, for grisha power to be used this way – but the darkling had assured her it was all part of her master plan. “ with this, we can help our kind. ” she had taken aisling’s hand into her own as she spoke, making her feel seen, important. “ i cannot do this without you, aisling. ”

“ i should be done soon. ” she was never a good liar – especially with rowan, whose gaze seemed to pierce right through her. but how else could aisling keep her concerns at bay? she could not bear the thought of worrying rowan ( it was a feeling all too new for aisling, too ). “ but thank you for checking in! i'll rest as soon as i'm finished. ” she wishes they could spend even a little while together... but it could never be at the cost of more blood on her hands.

[heavenlymorals]

Some artists that I think Arthur would really like cuz I'm kinda bored(aka, an excuse to show art history):

John Singer Sargent (1856-1925):

John Singer Sargent is an icon and his composition is legendary. He wasn't that focused on very intense detail as he was with form and it's amazing what he was able to do. Eye catching, yet unrendered. Realistic, yet simplistic. Though he paintings were phenomenal, I think Arthur would enjoy his charcoal portraits the most, though. They are so beautiful and I feel like Arthur would be fascinated by how Sargent was able to use tones to give the allusion of detail rather than actually drawing out the detail. I think Arthur would adore how Sargent made them feel so real with how simplistic the composition is.

Thomas Moran (1837-1926):

Thomas Moran is a landscape artist whose main muse was the vast American frontier. His most famous paintings are that of Yellowstone National Park and the gorgeous Grand Canyon. His oil paintings are colorful and vibrant and have so much emotion to them. Given that Arthur is often outdoors and is super connected to nature, he'd probably really enjoy Moran's oil paintings of higher elevation like canyons and mountains.

Alexandre Cabanel (1823-1889):

Alexandre Cabanel is a portrait artist who created some of the most iconic oil paintings to have ever graced our eyes. His academic style of painting focused a lot on detail and precise rendering, unlike Sargent. Given the general gloominess and the melodrama of his oil paintings, I feel like Arthur would really like the figures that Cabanel painted, especially considering how emotional they are. Arthur, being emotionally repressed, might connect even more with them because of it. Cabanel was a damn genius.

Ulysses S. Grant (1822-1825):

I know some of y'all are like "what the hell is Civil War hero and US President Ulysses S. Grant doing on this list?" Well, cuz he was a pretty dope artist too. In the few drawings we have from him, his main medium seems to be watercolor and his watercolor drawings are really unique. They focused more on composition than detail and they remind me so much of Arthur's own drawings, except they are in watercolor rather than lead or charcoal. I think Arthur might also enjoy how personal they all feel and how simplistic.

Winslow Homer (1836-1910):

Homer was an impressionist painter whose main muse was the everyday man and woman. His oil paintings are vibrant and full of life as they depict the everyday life of workers rather than people of leisure. Unrendered strokes from the brush put so much personality into the paintings and even life. Beautiful and bright paintings, all of them, but I feel like Arthur would connect most with the ones that depict land rather than the ones that depict water.

[clearwingedmaven]

Alright! The Empty House(Full Analysis, yay!]. My apologies that it's taken this long, but here we go.

So, a lot people know the story, that Holmes returns from the dead, having faked his death for three years, and helps solve the murder of Ronald Adair.

What I want to talk about though, is how Empty House is both a child of love, and resentment, and how it permeates throughout the story.

Resentment is obvious, at this point. Doyle resented the public pressure of 1893 England to have him bring back Sherlock Holmes, that that was what he was famous for, instead of his historical novels and Spiritualist work.

And it's colored into the characters as well. Different adaptations of Sherlock Holmes vary on levels of resentment. For example, the BBC Sherlock adaptation colors it heavily with resentment, and anger.

But even then, there is resentment between the characters as well. Even if Holmes's return is hailed as a joy by Watson, there is a resentment, a hesitation, in plunging back into his life with Sherlock Holmes.

Can you blame him? How would Watson know that Holmes wouldn't vanish again? How could Holmes traipse back into his life, free from the trauma and despair from Mary's death, and his own loss?

Perhaps, too, in this case, Watson serves as a mouthpiece for the audience. They resented that Holmes died. That the figure in their great game was gone. Dead. Their letters to Doyle, to anyone, to newspapers are desperate and resentful.

Doyle created an icon. And taking him away quite literally created a literary firestorm.

Resentment, I'd even argue, colors Holmes too. Watson did not live life in fear for three years, going from continent to continent, place to place, away from Moran, who knew he was alive.

Moran, of course, is another figure of resentment. He resents Holmes for taking Moriarty away. He resents Holmes for living when Moriarty plunged into the Falls, dead. And he resented Ronald Adair for cheating him out.

With all of these, it is no wonder it is from a pen of a bitter writer.

But, but. Love, is also strong here. It's incredibly strong. Perhaps even more so than resentment.

As I mentioned in my prior blog, Holmes’s return is gentle. He treats Watson's faint with care and a delicate hand. Mrs. Hudson accepts him back, and Watson does not ask him to leave(as much as I think Doyle wanted to...), and instead, is pleased Holmes is back, alive, and not dead at the bottom of Reichenbach.

I'd even argue that it's love that brought Holmes back. Love of his family, love of his brother, of John Watson, of Mrs. Hudson, of being able to help people, brought him back from Reichenbach and his three year exile.

(And, to even buying Watson's practice so Watson could have something to go back to after Mary's death. Whatever you may believe in between Holmes and Watson, that, to me, is a show of love and support. To help take care of a mourning friend.)

Remember: it was a murder that brought Holmes back. People needed help, and so did Watson, and everyone back in London with Moran on the loose. And as much as Holmes decries being bored at the face of crime, he is a man who loves to help. He loves being the one people turn to when other options are exhausted, or the police laugh them off.

Love and loyalty drive him to despair, when he can't save his clients.

Doyle didn't have to treat this story this gently. It didn't need to be there, for him, as he was caving into public pressure.

But it was. There is a dual element of both love and resentment from the pen of a bitter writer, and I think it's utterly fascinating.

[editfandom]

Twin Peaks, S02E10

[pepperbag76]

🌹 Marilyn Monroe by Earl Moran

[lillipad72]

Anne's World: A New Century of Anne of Green Gables

Part 1: Introduction (Irene Gammel)

"Anyone who has ever encountered her in one of L.M. Montgomery's novels will never forget her, for she is what we're not - and all that we long for and shall never become." - Jack Zipes on Anne Shirley

Key questions the book wants to answer:

"How do we read this early twentieth-century novel in ways that are relevant for readers of the twenty-first century?

How do the novel’s ethical dimensions fit into our own era?

Can Anne of Green Gables be read as a therapeutic text, capable of counteracting depression?

What is the power and danger of digital encounters with Anne?"

The goal of this book:

To consolidate and expand upon previous scholarship and information by placing Anne in its contemporary context while also exploring the reception and cultural impact, providing new references for future study.

The essays:

'Seven Milestones: How Anne of Green Gables Became a Canadian Icon' (Carole Gerson) "argues that Anne’s longevity is partly the result of a series of ‘institutional, commercial, and grassroots interventions."

'Matthew Insists on Puffed Sleeves: Ambivalence towards Fashion in Anne of Green Gables' (Allison Matthews, David and Kimberly Wahl) "argues that the text allows Anne Shirley to have it both ways: others want her to be fashionable and ambitious, whereas she wants to fit in."

'I'll never be Agelically Good: Feminist Narrative Ethics in Anne of Green Gables' (Mary Jeanette Moran) "reveals that the novel conforms to a feminist ethical paradigm because it tends to value those ethical choices that preserve or maintain relationships to support the principle that those who nurture others must also care for themselves, and to challenge the assumptions that women naturally care for others or that they alone bear the responsibility to do so."

'Too Headless and Impulsive: Re-reading Anne of Green Gables through a Clinical Approach' (Helen Hoy) "argues for the possibility of reading Anne Shirley as a psychological case study."

'Reading to Heal: Anne of Green Gables as Biblio-therapy' (Irene Gammel) "argues for reading Montgomery’s fiction within the important context of bibliotherapy, or the use of books in the treatment of personal and mental disorders."

'Reading with Blitheness: Anne of Green Gables in Toronto Public Library's Children's Collections' (Leslie McGrath) "examines how Montgomery’s literary reputation endured wide swings of critical opinion"

'Learning with Anne: Early Childhood Education Looks at New Media for Young Girls' (Jason Nolan) "looks closely at Anne of Green Gables: The Animated Series, Anne’s Diary, and New Moon Girls as prominent examples of how Anne of Green Gables and the work of Montgomery in general have been taken up as locations for formal and informal learning, through the identifi cation of Anne as variously a marketing icon, as an ideal young girl, and through the way Montgomery constructed learning environments within her novels."

'On the Road from Bright River: Shifting Social Space in Anne of Green Gables' (Alexander MacLeod) "studies the ways in which the characters inside the novel, like the readers outside of the text and the real-world visitors to the Green Gables National Park site in Cavendish, Prince Edward Island, are all engaged in a complex process of reading and rewriting social space"

'Anne in a "Globalized" World: Nation, Nostalgia, and Postcolonial Perspectives of Home' (Margaret Steffler) "explores the impact of the novel and character both outside and within Canada, arguing that the attraction of Montgomery’s work continues into the twenty-first century because it resonates with conditions in contemporary lives and culture, specifically the emotions and activity involved in migratory patterns of losing and creating home"

'An Enchanting Girl: International Portraits of Anne's Cultural Transfer' (Andrew O'Malley, Huifeng Hu, Ranbir K. Banwait, Irene Gammel) "shines a light on the crossover points from one culture to another, identifying cultures that have ‘appropriated’ Anne for very different purposes"

'What's in a Name? Towards a Theory of the Anne Brand' (Benjamin Lefebvre) "draws on film and cultural theories to consider paratextual Annes in terms of authorial ownership, control, and narrative pleasure"

'Mediating Anne' (Richard Cavell) (afterword) "closes off the book by providing a jumping-off point, looking forward to future research exploring the global Anne."

hi hi hi! I just discovered this book from 2010, which is a collection of essays on Anne of Green Gables, and I thought I might go through each essay and share my thoughts on the pieces! If anyone else has this book or access to any of the essays (some of which I think you can find online) I would love to discuss them with you! xoxo lily