#navaka

[nimbooz]

1 5 6 7 9 for kamal as well :P

YIPPEE OK

Are they associated with a certain colour + what colour do they wear the most?

Mostly teal, some green :) and they usually wear these colours as well as white, and maybe the occasional gold accent

5. How do they dress + practicality vs aesthetics

In my head this whole thing is animated so I have full wardrobe control but i need to keep it simple (because in my head this is a pre-existing series that is currently in preproduction).

His clothes are flowey and made of cotton, and he dresses more for comfort and practicality. Cords and bags and stuff are made of reed and/or leather, leather sandals, and the sort. I'm currently trying to figure out which eras in history I want the Navaka world to mainly draw from so I don't have much of an outfit but it's definitely on the looser side.

6. How do they wear their hair and do they care how it looks?

In his culture (rn it's named iranavatu but I will most likely change that), having healthy and silky hair is a very important thing societally. It shows that you live good and is seen as an important trait to look beautiful, regardless of gender. kamal has sleek, back length hair and keeps it down, sometimes tying it into a bun using the cord on his wrist (growing up it was when it was hot and he was fishing or doing any kind of manual labour).

7. Favourite animal and why?

I can't think of just one but hunting birds that live near water are what comes to mind for me. I feel like they would grow a little fond of swans since swans remind them of Dhanush? Graceful, delicate and resilient, but kinda annoying in person

9. Fav food, picky eater, dietary restrictions?

Kamal comes from a fishing village, he's very used to having fish in his diet and loves fish. I can see his favourite food being a sweet food, maybe something like payasam (which irl is a malayali dessert made of coconut milk, jaggery and rice or rice noodles). Kamal definitely has a big sweet tooth in my head.

[majnavaka]

El Carashapo - III

Después de mucho tiempo, publico la tercera parte. Pronto la siguiente, esta vez no tardaré 1 año. #cuento #majnavaka #arte #pintura #digital #literatura #peru

Salí por la alcantarilla A-58, la que me dejaba en medio del Pasaje Los Obscuros, lugar que era perfecto para mi salida gracias a los pocos arborojos que habían y la cantidad de sombras y criaturas diversas entre las que podía perderme con facilidad durante el cambio a la luz. Ahora que era de noche, pocos seres habían afuera y nadie había notado mi salida de la alcantarilla. Durante los cambios…

[fatehbaz]

Coral today is an icon of environmental crisis, its disappearance from the world’s oceans an emblem for the richness of forms and habitats either lost to us or at risk. Yet, as Michelle Currie Navakas shows in [...] Coral Lives: Literature, Labor, and the Making of America, our accounts today of coral as beauty, loss, and precarious future depend on an inherited language from the nineteenth century. [...] Navakas traces how coral became the material with which writers, poets, and artists debated community, labor, and polity in the United States.

The coral reef produced a compelling teleological vision of the nation: just as the minute coral “insect,” working invisibly under the waves, built immense structures that accumulated through efforts of countless others, living and dead, so the nation’s developing form depended on the countless workers whose individuality was almost impossible to detect. This identification of coral with human communities, Navakas shows, was not only revisited but also revised and challenged throughout the century. Coral had a global biography, a history as currency and ornament that linked it to the violence of slavery. It was also already a talisman - readymade for a modern symbol [...]. Not least, for nineteenth-century readers in the United States, it was also an artifact of knowledge and discovery, with coral fans and branches brought back from the Pacific and Indian Oceans to sit in American parlors and museums. [...]

---

[W]ith material culture analysis, [...] [there are] three common early American coral artifacts, familiar objects that made coral as a substance much more familiar to the nineteenth century than today: red coral beads for jewelry, the coral teething toy, and the natural history specimen. This chapter [...] [brings] together a fascinating range of representations of coral in nineteenth-century painting and sculptures.

With the material presence of coral firmly in place, Navakas returns us to its place in texts as metaphor for labor, with close readings of poetry and ephemeral literature up to the Civil War era. [...] [Navakas] includes an intriguing examination of the posthumous reputation of the eighteenth-century French naturalist Jean-André Peyssonnel who first claimed that coral should be classed as an animal (or “insect”), not plant. Navakas then [...] considers white reformers [...] and Black authors and activists, including James McCune Smith and Frances Ellen Watkins Harper, and a singular Black charitable association in Cleveland, Ohio, at the end of the century, called the Coral Builders’ Society. [...]

---

[H]er attention to layered knowledge allows her to examine the subversions of coral imagery that arose [...]. Obviously, the mid-nineteenth-century poems that lauded coral as a metaphor for laboring men who raised solid structures for a collective future also sought to naturalize a system that kept some kinds of labor and some kinds of people firmly pressed beneath the surface. Coral’s biography, she notes, was “inseparable from colonial violence at almost every turn” (p. 7). Yet coral was also part of the material history of the Black Atlantic [...].

Thus, a children’s Christmas story, “The Story of a Coral Bracelet” (1861), written by a West Indian writer, Sophy Moody, described the coral trade in the structure of a slave narrative. [...] In addition, coral’s protean shapes and ambiguity - rock, plant, or animal? - gave Americans a model for the difficulty of defining essential qualities from surface appearance, a message that troubled biological essentialists [...]. Navakas thus repeatedly brings into view the racialized and gendered meanings of coral [...].

---

Some readers from the blue humanities will want more attention, for example, to [...] different oceans [...]: Navakas’s gaze is clearly eastward to the Atlantic and Mediterranean and (to a degree) to the Caribbean [...], even though much of the natural historical explorations, not to mention the missionary interest in coral islands, turns decidedly to the Pacific. [...] First, under my hat as a historian of science, I note [...] [that] [q]uestions about the structure of coral islands among naturalists for the rest of the century pitted supporters of Darwinian evolutionary theory against his opponents [...]. These disputes surely sustained the liveliness of coral - its teleology and its ambiguities - in popular American literature. [...]

My second desire, from the standpoint of Victorian studies, is for a more specific account of religious traditions and coral. While Navakas identifies many writers of coral poetry and fables, both British and American, as “evangelical,” she avoids detailed analysis of the theological context that would be relevant, such as the millennial fascination with chaos and reconstruction and the intense Anglo-American missionary interest in the Pacific. [...] [However] reasons for this move are quickly apparent. First, her focus on coral as an icon that enabled explicit discussion of labor and community means that she takes the more familiar arguments connecting natural history and Christianity in this period as a given. [...] Coral, she argues, is most significant as an object of/in translation, mediating across the Black Atlantic and between many particular cultures. These critical strategies are easy to understand and accept, and yet the word - the script, in her terms - that I kept waiting for her to take up was “monuments”: a favorite nineteenth-century description of coral.

Navakas does often refer to the awareness of coral “temporalities” - how coral served as metaphor for the bridges between past, present, and future. Yet the way that a coral reef was understood as a literal graveyard, in an age that made death practices and new forms of cemeteries so vital a part of social and civic bonds, seems to deserve a place in this study. These are a greedy reader’s questions, wanting more. As Navakas notes [...], the method [...] is to understand our present circumstances as framed by legacies from the past, legacies that are never smooth but point us to friction and complexity.

---

All text above by: Katharine Anderson. "Review of Navakas, Michele Currie, Coral Lives: Literature, Labor, and the Making of America." H-Environment, H-Net Reviews. December 2023. Published at: [networks.h-net.org/group/reviews/20017692/anderson-navakas-coral-lives-literature-labor-and-making-america] [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism.]

[princetonuniversitypress]

Discover the literary and historical significance of coral

Discover the literary and cultural signifcance of #coral—as an essential element of the #marine #ecosystem, a personal ornament, a global commodity, and a powerful political metaphor from Michele Currie Navakas in #PUPIdeas. #literature

Most people these days encounter coral only rarely. We might visit an aquarium or natural history museum, watch an environmentalist documentary, read an alarming newspaper report about ocean acidification, or discover what is left of living reefs on a snorkeling or scuba excursion. When we see coral in these places we wonder at its astonishing beauty, of course, even as it inevitably evokes the horror of planetary climate crisis.

As a person who has been writing a book about coral for the past ten years, I have also gotten good at spotting coral in more mundane places: on a glass end table in the lobby of a relative’s seaside condo, on the mantelpiece of a vacation rental with seashell patterned wallpaper, on a shelf in the waiting room of a Midwestern doctor’s office amidst other marine curios intended to establish a general ocean-themed decor.

And so, it seems that, at least in the twenty-first-century popular imagination, coral alternately symbolizes either a blissful day at the beach or the end of our planet as we know it.

In the nineteenth century, however, coral had many other lives.

Somewhat surprisingly, coral was a commonplace part of everyday life and thought for even more people during the nineteenth century than it is today. Reef ecosystems still flourished in the Mediterranean Sea and other warm, shallow waters that most species of coral require. The (then) centuries-old question of whether coral is animal, vegetable, or mineral—or some unique combination thereof—continued to interest natural historians and the public alike. Charles Darwin’s theory of coral reef formation became a topic of international interest well beyond scientific circles from the 1830s onward. Women and girls—wealthy, working-class, and enslaved—wore red coral jewelry supplied by a thriving global coral trade centered in Italy. Some of that Mediterranean coral was exchanged for enslaved persons along the coast of Africa by European traders. And in wealthier families, children might cut their first teeth on red coral: the “coral and bells,” a combination teething aid, toy, and talisman, was a popular christening present. Read more...

[wildjuniperjones]

Okay, getting started late, but definitely doing something for my blorbos. If not writing, then art. Or a playlist. Just...something.

List of OCs under the cut.

A is for Anya (Bonds of Trust), Anthony (Anarchy Ink), or Aleis (Untitled Fantasy)

B is for Baza (The Delta) or Bianca Fairchild (The Silver Hand)

C is for Christopher Singh (Another Lost Cause)

D is for Dove (The Delta)

E is for Emma (The Delta) or Esme (Untitled SF/F)

F is for ??

G is for Giacomo Faltsengraff (The Silver Hand or Amongst the Goblins & the Fishes)

H is for Harra (Bonds of Trust)

I is for Ilya (Untitled Fantasy Series)

J is for Joseph Parker (Anarchy Ink)

K is for Kestrel Dragonwagon (D&D character)

L is for Leo Ortiz (Bonds of Trust)

M is for Magpie (The Delta) or Mikkel (Untitled, Sci-Fi)

N is for ??

O is for Olnara Avenfeldt (D&D character)

P is for Parsa Nagari (Bonds of Trust)

R is for Rik Van Irin (Bonds of Trust), Roan Clearwater (Amongst the Goblins & the Fishes), or Rodrigo (Bonds of Trust)

S is for Sere Nagari (Bonds of Trust), Snow (Untitled Fantasy Series), or Sophia Navakas (Anarchy Ink)

T is for ??

U is for ??

V is for Vandon Nagari (Bonds of Trust) or Vincente (Bonds of Trust)

W is for William Clark (Another Lost Cause) or Wren (Amongst the Goblins & the Fishes)

X is for ??

Y is for ??

Z is for Zachary Poole (The Silver Hand or Amongst the Goblins & the Fishes)

I got a LOT to do...

FebruarOC

I’ve got a ton of OCs and my mate tells me I neglect most of them and I’m like ‘damn you’re right!’ but I love them all and always torn with who to work on. 

so want try something-

February got 28 days, English alphabet got 26 letters (or whichever alphabet you wanna use). Days 1 to 26 go A to Z and you draw your OC with the name that begins with that letter on that day. If you do not yet have an OC that starts with that letter, you create one >;3  (or that nameless OC you’ve had for awhile, all lonely with no name, finally it’s their chance to shine~).

Day 27 and 28 are free spots or for unusual names (like numbers or something else).

Just got to do something. Be digital, traditional or even a quick doodle (or for the writers, do a description or short story) but GOTTA DO SOMETHING!!

Hence FebruarOC~

[mariacallous]

Today, coral and the human-caused threats to coral reef ecosystems symbolize our ongoing planetary crisis. In the nineteenth century, coral represented something else; as a recurring motif in American literature and culture, it shaped popular ideas about human society and politics. In Coral Lives, Michele Currie Navakas tells the story of coral as an essential element of the marine ecosystem, a cherished personal ornament, a global commodity, and a powerful political metaphor. Drawing on a wide range of sources, including works by such writers as Sarah Josepha Hale, Harriet Beecher Stowe, Frances Ellen Watkins Harper, and George Washington Cable, Navakas shows how coral once helped Americans to recognize both the potential and the limits of interdependence—to imagine that their society could grow, like a coral reef, by sustaining rather than displacing others.

Navakas shows how coral became deeply entwined with the histories of slavery, wage labor, and women’s reproductive and domestic work. If coral seemed to some nineteenth-century American writers to be a metaphor for a truly just collective society, it also showed them, by analogy, that society can seem most robust precisely when it is in fact most unfree for the laborers sustaining it. Navakas’s trailblazing cultural history reveals that coral has long been conceptually indispensable to humans, and its loss is more than biological. Without it, we lose some of our most complex political imaginings, recognitions, reckonings, and longings.

[organisationskoval]

534) Klaipėdos krašto krikščionių socialistų darbininkų sąjunga, Christlich Sozialistische Arbeitsgemeinschaft des Memelgebiets, Union of Christian Socialist Workers of the Memel Region, Związek Chrześcijańsko-Socjalistycznych Robotników Regionu Memel lub CSA - skrajnie prawicowa partia nazistowska w regionie Kłajpedy. Związek Chrześcijańsko-Socjalistycznych Robotników Regionu Memel został zarejestrowany 1 czerwca 1933 r. w Kłajpedzie, znanej po niemiecku jako Memel. Składał się z tajnego kłajpedzkiego oddziału partii nazistowskiej. Jej 18 członków, deklarując lojalność wobec rządu litewskiego i nazywając się listą CSA, wzięło udział w wyborach do Sejmu Kraju Kłajpedzkiego 22 lutego 1933 r. i wygrało je. Na polecenie kierownictwa NSDAP w Monachium, Theodor von Sass, ksiądz kłajpedzkiego kościoła ewangelicko-luterańskiego i Hanno von der Ropp, główny prokurator Sądu Okręgowego w Kłajpedzie, przeorganizowali listę w partię. Kierownictwo regionu składało się z 7 osób: przewodniczący Theodor Freiherr von Sass, zastępca adiutant Hanno von der Ropp, sekretarz osobisty Ernst Gaebler, kierownik ds. P. Klein i inni. Kierownictwo powiatowe składało się z 4 komendantów, którzy kierowali dowódcami grup obwodowych, bloków i komórek. Wzorem strajkujących NSDAP, CSA zorganizowała 9 oddziałów. Najpierw nazwano ich strażnikami halowymi (niem. Saalschutz), później oddziałami uderzeniowymi (niem. Sturm Kolonne). CSA opublikowało nazistowską gazetę „Kurier ludowy” (niem. Volkskurier). Na początku 1934 r. CSA liczyło 2258 członków, którzy byli urzędnikami państwowymi, oficerami rezerwy, nauczycielami. CSA koordynowało swoje działania z Karlem Motzem, szefem Wydziału Wschodniego biura NSDAP w Monachium, Hansem Moserem, szefem NSDAP Okręgu Tylży, Hofmannem, szefem Sturmabteilung (SA) w Tylży i Erichem Kochem, Oberpräsident Prus Wschodnich. Liderzy starych partii niemieckich w regionie Kłajpedy (Memeler Landwirtschaftspartei i Memeler Volkspartei) przekonali kierownictwo NSDAP, że Sass jest zbyt słaby, by zrealizować plany nazistów, i mianowali Ernsta Neumanna na szefa CSA. Niemniej jednak Sass odmówił przekazania przywództwa, mając nadzieję na osobistą decyzję Adolfa Hitlera. W rezultacie Neumann utworzył następnie nową partię polityczną opartą na nazizmie, Sozialistische Volksgemeinschaft des Memelgebiets (SOVOG), i rozpoczęła się walka o władzę między CSA a SOVOG. Konsul niemiecki H. Strack próbował pogodzić i zjednoczyć obie strony 2 lipca 1933 r. Kilka miesięcy później, kiedy SOVOG się wzmocnił, NSDAP przestała finansować CSA, a wielu jej członków przeszło na SOVOG. Władze litewskie nie od razu oceniły nazistowską działalność CSA i początkowo cieszyły się, że CSA niszczy stare niemieckie partie w rejonie Kłajpedy. 9 lutego 1934 r. gubernator Kłajpedy Jonas Navakas na podstawie specjalnej ustawy z 8 lutego 1934 r., wydanej w celu ochrony Narodu i Państwa (przed zniewagami i służbą obcym państwom), aresztował przywódców tzw. CSA i SOVOG oraz zawiesiła działalność CSA. 24 grudnia 1934 r. rozpoczął się proces Neumanna i Sassa, podczas którego przywódcy i członkowie partii politycznych CSA i SOVOG zostali skazani przez Sąd Wojskowy Litwy na kary śmierci i ciężkie więzienie pracy[. Decyzja ta została zaskarżona do Najwyższego Trybunału Litwy, jednak poprzednia decyzja sądu pozostała niezmieniona. Neumanna skazano na dwanaście lat ciężkiego więzienia pracy, a Sassa i Roppa na osiem lat ciężkiego więzienia pracy. 13 lipca 1934 r. rozkazem komendanta wojskowego zdelegalizowano partie polityczne CSA i SOVOG.

[missedstations]

“Archaeopteryx” - Kęstutis Navakas

you’re home. eating lentils. talking to your loved one. you’re abroad. eating lentils. talking to your loved one. you’re not yourself. you’ve been stolen. you’re talking to your lentils. you’re not a knife, not cotton. talking to your loved one. you forgot how to talk and forgot how to hang in the closet. you forgot the letter p in the receit. you’re talking to cotton. it doesn’t answer. its life was not for you. a lot. too much. although there is never too much. you’re anywhere. eating lentils. talking to. she doesn’t answer. she went everywhere you went. she flew. when you fly—you can’t cry. you’re talking to her. she doesn’t answer. but there were two rooms. you didn’t know where. you went anywhere. no one was drawing your loved one there. just a manuscript in the bottom drawer of the desk. and its feathers are petrified. along with two dozen of its vertebrae. you told your loved one about this. you ate lentils and it didn’t even rain. one hundred fifty million years—just the blink of an eye. in your manuscript. in the solnhofen schist. Translated from the Lithuanian by Rimas Uzgiris

[tamsoj]

so lock your fingers together and listen to inertia's uncomfortable laws: without you your thoughts would have no-one to come to

Kęstutis Navakas, from Six Lithuanian Poets, “Tenth”, tr. by Jonas Zdanys

original:

tad sunerki pirštus ir paklusk nejaukiems inercijos dėsniams: be tavęs tavo mintys neturėtų pas ką ateiti

[antoniogonzalezart]

Mindaugas Navakas

Horizontal Cylinder

[tezlivenews]

लोक गायक Manohar Singh का Bhojpuri Song 'नवका ओढ़निया लसराईल बा' रिलीज, ननद को छेड़ती दिखी 'भौजाई'

लोक गायक Manohar Singh का Bhojpuri Song ‘नवका ओढ़निया लसराईल बा’ रिलीज, ननद को छेड़ती दिखी ‘भौजाई’

भोजपुरी (Bhojpuri Singer) के लोक गायक मनोहर सिंह (Manohar Singh) का नया गाना ‘नवका ओढ़निया लसराईल बा’ (Navaka odhaniya Lasarail Ba) का वीडियो यूट्यूब (youtube Video) पर जारी कर दिया गया है. इस गाने में ननद भौजाई के बीच की नोकझोंक देखने के लिए मिल रही है. इस गाने से पहले इसका पोस्टर और टीजर रिलीज किया गया था, जिसे दर्शकों से अच्छा खासा रिस्पांस मिला था. अब इस गाने के वीडियो को भी लोगों से बेहतरीन…

[nimbooz]

32 & 13 for all three, 9 & 10 for chimni, 33 and 34 for kamal, 4 and 5 for dhanush

32: done!

13. What languages do they speak?

I think the answer to this might be a bit complicated. There's a common language throughout the land of Navaka, but it widely differs in dialect and has different scripts (in addition to geographically stuck native languages). All three characters can speak the common tongue (no name yet) as well as their native tongue, and Kamal and Dhanush are literate in their native tongues. I'd also add that chimni has a very strong accent/his dialect kinda slips through while speaking common.

9. Food preferences, dietary restrictions, are they picky?

I haven't decided if I want to keep this or not, but in my head Chimni is a vegetarian (whether or not she stays one by the end of the story I haven't thought of yet, but basically in her culture food is rooted in agriculture and so meat isn't much of a staple, only the rich enjoy it and it's kinda frowned upon.) Favourite dish.... I haven't thought much about the culinary aspect of the world but since Chimni's from an area heavily based off of my culture, I would probably say something akin to pithla bhakri which is kinda like a cooked lentil porridge (???) with a millet flour flatbread. as well as a spicy thecha (kinda like chutney) on the side. farmer's staple!

10. Jewellery?

The only pieces of jewellery they wear are an anklet made of bronze and bits of blue agate, and a pendant they keep in their pocket that belonged to their mother (important to plot!!)

33 and 34: done for everyone!

4. How crafty/resourceful is this character?

Being born into royalty and having lived in comforts for basically his whole life, Dhanush isn't very good at surviving in the real world. He has useful skills (calligraphy, archery, swordsmanship, some instruments) but this basically does nothing for you living in the wild or as a "common" person. He's nifty though, he'll learn quick.

[majnavaka]

Libetín 01

El libro “Libetín I” es el primero que escribí intentando hacer algo caricaturesco, basado en diferentes referencias literarias y de la televisión. El “Libetín I” es un juego, y su escritura la hice bajo los efectos de los happy brownies y el jazz de Thelonious Monk. El libetín I es también el primer libro que intento hacer basado en el universo imaginario que estoy creando: “Kaja”. Así que…

[unsubconscious]

From “Archaeopteryx” by Kęstutis Navakas, translated from Lithuanian by Rimas Uzgiris and published in The Paris Review; issue no. 233, Summer 2020.

[librarycompany]

Check out the Library Company blog to read our most recent Reader Spotlight: 

Michele Navakas studies the cultural significance of coral. At the Library Company, she found Stories Mother Nature Told Her Children (Boston, 1889), which includes the story "Sea-Life" -- featuring talking coral. The polyps explain the anonymous, self-sacrificing labor of building reefs to a starfish: "We are here to build, and building is all we care to do."  The author Jane Andrews discusses collective labor, but is strangely silent about oppression. #LCPFellowFriday

Andrews, Jane. The stories Mother Nature told her children. Boston.  Lee and Shepard. 1889. 

Illustration from James Dwight Dana’s Corals and Coral Islands (New York, 1872).

[riyo-advertising-agency]

Book Newspaper ads in Maharashtra times Newspaper!