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multifandomfanboy · 10 months ago

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Magnus Protocol Filing System

All of you really liked my numerically-sorted list of Magnus Archives statements by their case numbers, so I’ve decided to do something similar for the Magnus Protocol, but this time sorting it by 4 6 different categories.

As I am writing this only the first 2 episodes have come out, I will try and keep it updated the best I can (don’t be surprised if I stop updating it and suddenly start updating again months later, I’m just like that).

==========================

Category (CAT)

Meaning currently unknown

==========================

CAT1 - MAGP1, MAGP6, MAGP10, MAGP12, MAGP14, MAGP15, MAGP16, MAGP18, MAGP20, MAGP24, MAGP26

CAT13 - MAGP19, MAGP22, MAGP23

CAT2 - MAGP3, MAGP5, MAGP7, MAGP8, MAGP17, MAGP21, MAGP25, MAGP28, MAGP29, MAGP30

CAT23 - MAGP1, MAGP11

CAT3 - MAGP2, MAGP4, MAGP9, MAGP13, MAGP27

==========================

Rank

Meaning currently unknown

==========================

RS - MAGP30

RAB - MAGP1, MAGP20

RB - MAGP5, MAGP6, MAGP9, MAGP10, MAGP12, MAGP13, MAGP14, MAGP15, MAGP16, MAGP18, MAGP25, MAGP27, MAGP28, MAGP29

RBC - MAGP1, MAGP2, MAGP8, MAGP19, MAGP21, MAGP22, MAGP23, MAGP24, MAGP26

RC - MAGP7, MAGP11, MAGP17

C - MAGP3, MAGP4

==========================

DPHW

Meaning currently unknown

==========================

1137 - MAGP19

1147 - MAGP17

1375 - MAGP24

1565 - MAGP16

1567 - MAGP2

2155 - MAGP1

2275 - MAGP10

2374 - MAGP18

2377 - MAGP5

2474 - MAGP25

2534 - MAGP20

2578 - MAGP28

3338 - MAGP7

3354 - MAGP9

3366 - MAGP8, MAGP30

3536 - MAGP23

4254 - MAGP21, MAGP29

4426 - MAGP14

4463 - MAGP26

4488 - MAGP22

4622 - MAGP13

4728 - MAGP12

4824 - MAGP6

5246 - MAGP11

5257 - MAGP1

5535 - MAGP27

6451 - MAGP15

7494 - MAGP4

8175 - MAGP3

==========================

Primary Classification

The horror itself

==========================

Agglomeration (miscellany) - MAGP7

Architecture (landmark) - MAGP21

Architecture (liminal) - MAGP8

Baby (demonic) - MAGP24

Collection (blood) - MAGP4

Dice (bone) - MAGP9

Disappearance (undetermined) - MAGP5

Doppelgänger (interdimensional) - MAGP17

Drowning (subterranean) - MAGP29

Exhaustion (athletic) - MAGP26

Experiment (brain) - MAGP22

Food (gorging) - MAGP25

Gambling (application) - MAGP13

Hunt (aristocratic) - MAGP15

Infection (full body) - MAGP3

Injury (needles) - MAGP6

Kidnapping (carriage) - MAGP27

Mascot (kids) - MAGP10, MAGP12

Memory (derelict) - MAGP18

Reanimation (partial) - MAGP1

Tattoo (corpse) - MAGP11

Tattoo (influencer) - MAGP16

Transformation (canine) - MAGP19

Transformation (dysmorphic) - MAGP23

Transformation (eyes) - MAGP1

Transformation (full) - MAGP2

Transformation (snake) - MAGP14

Transformation (tattoo) - MAGP20

Transmutation (human) - MAGP28, MAGP30

==========================

Secondary Classification

The events surrounding the horror

==========================

arboreal - MAGP3

cardiac - MAGP16

ceremony (academic) - MAGP28

compulsion - MAGP11, MAGP15, MAGP18

compulsion (disgust) - MAGP25

compulsion (tape) - MAGP26

congregation - MAGP7

consumption - MAGP27

corruption (entropy) - MAGP21

delusion (exhaustion) - MAGP24

doppelgänger (infection) - MAGP23

dysmorphic - MAGP2

fate - MAGP9

frenzy - MAGP12

growth (Crystalline) - MAGP19

horde - MAGP14

hunger - MAGP8

imprisonment (existential) - MAGP22

intimidation - MAGP6

invitation - MAGP5

isolation (urban) - MAGP30

key (metaphor) - MAGP29

murder - MAGP10, MAGP17

musical - MAGP4

regret - MAGP1

self-destruction - MAGP13

social media (Imfluencer) - MAGP20

trespass - MAGP1

==========================

Data Type (Apparently no longer being used)

Gone again?

==========================

999 Call - MAGP6

Chat Log - MAGP1

Coursework - MAGP8

Email - MAGP1, MAGP7

Email Exchange - MAGP11

Insurance Claim - MAGP12

Internet Blog - MAGP5

Journal Entry - MAGP3

Letter - MAGP4, MAGP27

Magnus Statement - MAGP9

TV Interview - MAGP10

Video Call - MAGP2

Voicemail - MAGP13

#magnus protocol #the magnus protocol #magpod #tmagp 30

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bookkeepersnake · 6 months ago

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DPHW Index

[Numerical]

1147 - Doppelganger (interdimensional), murder

1157 - Dolls, Watching (Human skin)

1565 - Tattoo (influencer), Cardiac

1567 - Transformation (full), Dysmorphic

2155 - Transformation (eyes), Trespass

2275 - Mascot (kids), Murder

2374 - Memory (derelict), Compulsion

2377 - Disappearance (undetermined), Invitation

3338 - Agglomeration (miscellany), Congregation

3354 - Dice (bone), Fate

3366 - Architecture (liminal), Hunger

4622 - Gambling (application), Self-destruction

4748 - Mascot (kids), Frenzy

4824 - Injury (needles), Intimidation

5246 - Tattoo (corps), Compulsion

5257 - Reanimation (Partial), Regret

5337 - Resurrection, Obsession (medical, pursuit, blasphemy)

6451 - Hunt (aristocratic), Compulsion

7465 - Vampires, Popular Culture

7495 - Collection (blood), Musical

8175 - Infection (full body), Arboreal

[Updated through MAGP 18]

#the magnus protocol #the magnus archives #dphw index

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blackbird-brewster · 2 years ago

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Friday Fic Recs

*I'm doing this on a Thursday because this weekend is going to be busy for me and I didn't want to forget!

What I've Been Reading:

Criminal Minds, JJ/Emily, WC: 2402+ (WIP) Rated: T || Author: sunshineandguns (@cargopantsprentiss)

Why I Love It: Where do I even begin?! This is a CM: Evolution fix-it-fic with a Jemily focus and god, we really deserved this in the show. I admittedly didn't watch all of CME, but I know Emily and JJ weren't even on screen at the same time for more than a minute in ten episodes, which is SO unbelievable given their relationship for the past 15 seasons. sunshineandguns always writes Jemily with such beautiful introspection, she's taken scenes in CME that made NO sense (Emily not hugging JJ, etc) and given meaning to them. I look forward to more of this fic

Criminal Minds, JJ/Emily, WC: 1567+ (WIP) Rated: (Not Rated) || Author: littlesolo (@littlesolo)

Why I Love It: Littlesolo and I started talking about this ages ago and I was so excited to see it posted, I'm always a slut for a Jemily twist on canon events, in this case 'Truth or Dare'. Which is funny timing, since that's probably the next chapter of my WIP too. I LOVE seeing all the creative ways people have taken that shitshow of an episode and turned it into Jemily (like we deserved). Love this one for having JJ and Emily's history which really adds to the tension. Looking forward to chapter 2!

Criminal Minds, JJ/Emily, WC: 14,420 Rated: G || Author: phoenix_falls (@otahkoapisiakii)

Why I Love It: I know this was on last week's fic recs, but I just finished reading it to my partner last night and GOD. ITS SO FLUFFY IM GONNA DIE!!!! I will say this over and over, NO ONE does soulmate AUs like phoenix_falls. The entire premise of this is so fun and interesting and the reader gets to have those moments of 'GOD NO! SHE'S OVER THERE!' You hold your breath, you laugh, you squee. It's an AU where you repeat the first day you first cross paths with your soulmate over and over again, until you two finally meet and I adore it.

What I've Been Writing:

Criminal Minds, JJ/Emily, WC: 75,524+ (WIP) Rated: E

Update: I just posted Chapter 12 last night!! I currently have this slated to be 15 total chapters, so we're nearing the end and oh goodness, this chapter was so full of feels. This chapter serves as the turning point in a lot of ways and it was so fun to reveal some things that were secretly foreshadowed in previous chapters, or details I never drew attention to only to reveal them here for a deeper impact. I am constantly humbled by the comments and support on this fic, genuinely just....wow. Thank you to everyone who's reading and commenting. Please know that I have an entire folder of screencaps of kind comments and you all just fill my heart with so much gratitude

Criminal Minds, JJ/Tara/Rebecca, WC: 10,135+ (WIP) Rated: E

Update: I don't know how much writing I'll get done this weekend, but I want to aim to start working on chapter 3 of this soon! I just love these three so much and I'm looking forward to where this fic goes from here. Full transparency, fuck canon. This is a happy fic and I will not be exploring the, frankly, abhorrent way the show treated Tara/Rebecca. This fic will have a very happy ending (aka a threesome)

More Fic Recs Under The Cut

Other Recommendations:

Past Friday Fic Recs: [Friday Fic Recs - Tumblr] || [CM Fic Recs - AO3 Collection]

Rec Lists: [JJ/Emily] || [Tara/Emily] || [CM Femslash]

My Fics: [Jemily] || [Temily] || [All]

#criminal minds #jennifer jareau #emily prentiss #jemily #tara lewis #rebecca wilson #tebeecca #jara #ot3: did you say girlfriend #cm fanfiction #friday fic rec #cm fic rec #my writing #ao3

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mikrokosmos · 5 years ago

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Vaughan Williams – Fantasia on a Theme by Thomas Tallis (1910)

From Psalm 2, as translated in Archbishop Parker’s 1567 psalter;

Why fumeth in sight: The Gentils spite, In fury raging stout? Why taketh in hond: The people fond, Vayne thinges to bring about? The kinges arise: The lordes devise, In counsayles mett thereto: Agaynst the Lord: With false accord, Against his Christ they go.

Most incredibly, Vaughan Williams was able to take something very old, something as archaic as a Renaissance era modal hymn, and transform it into a remarkable work that feels timeless. Not to say that the Tallis hymn melody isn’t already remarkable; written in the Phrygian mode, the work modulates modally and so creates a somewhat uncomfortable reaction, where the music doesn’t “go” where you expect it “should”, and yet where it does go is satisfying and logical. And there is a deep pathos in this short tune, it is no wonder Vaughan Williams was so attracted to the work. The work is written for a three part expanded string orchestra, the first part is full sized, the second part is a smaller number of the same ensemble, and the third is a string quartet. His intention was to recreate the sonorities of a pipe organ. Following the “archaic” model, it is written as an Elizabethan fantasy, where the main theme and its original harmony is heard a few times but the material surrounding it is developed out of parts of the main theme. This creates an overall feel of rising and falling, a build up to the presentation of the main theme, and then melting away into a free flowing sound world that reacts to it. And maybe this is too ‘extra musical’ but I can’t help imagine a foggy day and seeing deer slightly out of sight and running away into the grey cloud.

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lifemuchgreener · 6 years ago

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Brothers Trust - Day 2

STORY SUMMARY: You enter the Brothers Trust contest on a whim, not expecting to win. But what happens when you do?

CHAPTER SUMMARY: You’re fascinated by everything on the set of Spider-Man: Far From Home but you start feeling a little insecure after taking an awkward photo with Tom. Zendaya boosts your confidence in the bathroom because women helping other women is the best.

WARNINGS: Once again, nothing in this chapter. But there will be some warnings in the future, trust me!

WORD COUNT: 1567

AUTHOR’S NOTE: Got this up a day later than I thought I would, woohoo!

Read the prologue here and chapter/day one here!

You wake up to the sound of your phone’s alarm and immediately panic a little because you don’t recognize your surroundings. It takes several moments for you to remember that you’re in London and that today is the day you’re going to the set of Spider-Man: Far From Home.

You grin to yourself as you change out of your sleeping clothes and into one of the outfits you packed. You brush your teeth and head to the lobby for a quick breakfast.

You’re feeling significantly less nervous now than you were last night. Everything went well with Tom and because of that you feel confident that everything will go well with his friends and co-stars too. You’re also super excited to learn more about what goes on behind the scenes of such a big movie. You imagine that you’ll learn a lot more here than you would have if you were back home attending your first day of class.

The driver pulls up to the curb of a rather unassuming brick building. You knew that the building where they filmed wouldn’t be painted in blue and red with spider web designs and the words Spider-Man: Far From Home plastered everywhere but this place looked like any other boring building. You wonder how many little boys and girls have walked past the structure wearing their Spider-Man t-shirts with no idea that a movie starring their favorite superhero would be filmed there.

Someone saying your name distracts you from your thoughts. You look in the direction of the voice but you already know who it is, because who the hell else would it be, and you’ve watched countless interviews of him so you’re pretty familiar with the sound of his voice.

Tom beckons you closer with a wave of his hand, his free one clutched around a cup of coffee.

“Welcome to the set,” he says with a smile that makes your heart melt. “This is Harrison.”

Harrison, who is standing beside him, raises his hand in greeting.

“Do you want any coffee before we start? Harrison can go get you some. That’s essentially what he’s here to do,” Tom teases.

You shake your head, not wanting to be an inconvenience to anyone.

“Then let’s get started.”

You’re blown away by the whole thing. There’s not one step in the whole process that doesn’t leave you completely in awe of how talented each and every person on set is at their craft. Transforming Tom into Spider-Man is tedious but you watch what everyone is doing with fascination. When the filming finally begins, you stand off to the side and observe as Tom and the other actors do their magic.

“You know, he thinks you’re pretty,” Harrison says, approaching you from your left. “He told us in the groupchat last night.”

You look at him out of the corner of your eye. He seems serious.

“Tom’s a sweetheart,” you say. “He’s the kind of guy who could find beauty in any girl.”

“He is,” Harrison agrees. “But he really thinks you’re pretty. And just a good person to be around.”

“He’ll forget about me once I go back home.”

He shakes his head. “I don’t think so.”

Harrison walks away leaving you with only your own thoughts to keep you company as you silently watch the rest of that morning’s filming.

Tom has just finished doing an amazing stunt all on his own when someone calls for a lunch break. He carefully pulls off the mask and comes toward you, wiping away beads of sweat on his forehead with the back of his hand.

“That was incredible,” you say, unable to tone down your excitement.

He smiles at you. “Thanks. So, you ready for lunch?”

“Wait!” Nikki says, coming up to both of you with a camera in her hands. “Let me take a picture while you’re still in costume.”

Tom hands his mask over to Harrison. There’s a brief moment of awkwardness where you look at each other, unsure of what to do.

“Put your arm around her, dumbass,” Harrison says, whipping the mask across Tom’s upper arm to get him into motion.

He does so, his hand gently settling on your shoulder as if he’s nervous to fully touch you. Thinking it would be weird to just have your arms dangling at your sides, you move the hand between your two bodies to rest gently on his back. You smile, hyper-aware of all the places your bodies are touching: his hand on your shoulder, yours on his back, and your leg up against his as Nikki snaps a few photos.

She goes through them on the small screen of the camera and nods her approval. “Lunch is already in your trailer.”

You drop your arm back to your side as Tom does the same, his fingertips brushing your back as he does so.

“As I was saying,” he continues. “You ready for lunch?”

“Can I use the bathroom first?” you ask. You don’t really care what he says -- you need a moment alone to collect yourself.

“Yeah.” He points in the direction of the bathroom and you hurry off. There’s two stalls but you’re glad to find that you’re alone when you fling open the door and close it behind you. You stand in front of one of the sinks and douse your hands in cold water.

The door opens and you keep your head down and stare at your fingers as you wait for the stranger to go into one of the stalls. When she doesn’t, you glance over at her to find that she’s looking right at you.

“It’s nice to meet you,” she says, taking a step closer. “I’m Zendaya.”

You remove your hand from the stream of water to extend it to her for a handshake. Of course it’s dripping wet so you immediately turn the faucet off, grab a paper towel, and thoroughly dry them. Then you extend your hand again.

“I’m Y/N,” you say as she shakes your hand. “And it’s nice to meet you.”

“Fan of Tom?” she asks, leaning against the other sink.

You nod. “And you, too. Everyone, actually. You’re all incredible.”

She smiles at you. “Harrison wasn’t lying, you know.” When you look a little puzzled, she adds, “about Tom talking about you in the groupchat.”

“How many damn people are in this groupchat?”

“There’s multiple chats, actually,” she explains with a laugh. “There’s one with Tom, his brothers, and Harrison. The one I’m in has Tom, Harrison, and Jacob, but then there’s also one with just those three. Harry kept sneakily taking photos of Tom looking at you during the dinner you had with his family last night and sending them to their groupchat. Harrison then screenshotted the pictures and sent them to the groupchat with me so I could give my female opinion.”

It took you a moment to wrap your head around her story.

“And I told Harrison that Tom seemed to be looking at you in a different way than he looks at other people,” she continues. “And then after dinner he kept sending texts about how sweet you were and how excited he was to spend a couple more days with you.”

You look at her, speechless.

“I just thought you should know,” she says. “I can tell you’re nervous and there’s no need to be.”

Are you really getting a pep talk from Zendaya right now?

“You’re beautiful. You’re smart. You’re funny. And you’re going to go have lunch with Tom in his trailer right now,” she says, determined.

You really are getting a pep talk from Zendaya right now.

She opens the door for you. You blink at her.

“Thank you,” you say, feeling pretty lame, but you’re not sure what else to say.

“No problem,” she pats you on the shoulder as you walk through the door.

You find Tom in the same spot where you left him.

“Let’s try this again,” he laughs when you approach him. “Are you ready for lunch?”

You nod and follow him as he guides you to his trailer, feeling more confident than before.

That night you’re relaxing in the bathtub, reflecting on the day when you suddenly

remember that you haven’t checked your phone since the early morning. Everything was so busy that it slipped your mind. Sitting up, you dry your hands with the towel that you put near the tub and reach for your phone. It has less than half of its battery life left which you find odd since you know haven’t touched it all day.

A quick glance at your Instagram page tells you everything that you need to know.

The battery is so low because of your phone screen constantly lighting up from all the new notifications. You have thousands of new followers, hundreds of comments on all your posts, and seemingly every Tom Holland fan account has reposted and tagged you in the photo that Nikki took of you and posted to the Brothers Trust Instagram account. People are sliding into your DMs left and right but you don’t bear to look, knowing how crazy the fans could sometimes be. You decide to temporarily uninstall the app. You’ll deal with your newfound and hopefully temporary popularity when you get home. At the moment you need to get rest for your last full day in London tomorrow.

Taglist: @deadlyaffairs, @strrwberries, @le-papillon-chatoyant, @smexylemony, @carolborges890, @ineedsomemoremetime, @loxbbg, @mac-demarco1, @howdycharlie, @rebekahs-worlds-blog, @parkersvinyl, @ballerinaphan, @lovesdeath

#tom holland #tom holland x reader #tom holland smut #tom holland fanfiction #marvel smut #marvel x reader

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jbpiggin · 7 years ago

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A "Tree" of Genealogy

The quest for the first "family tree" has been one of my scholarly interests for years. Readers of this blog will know by now that stemmata, ramifying diagrams with ancestors at the top, were invented in antiquity (provedly before 427 CE). The inversion of those diagrams into family trees with ancestors as the roots and their descendants as boughs and leaves was a slow transformation that took well over a thousand years. One of the most interesting way-stations in that process is the invention of the term "family tree," where "tree" in its medieval sense simply meant a diagram that could be scaled up at will (just as a tree or a crystal grows) without specifically denoting that the diagram must visually resemble a natural tree. Christine Klapisch-Zuber in her major work, L'Ombre des Ancêtres, fixes the first fusion of "genealogical" and "tree" in Latin in 1312 by Bernard Gui, a Dominican inquisitor and bishop in the south of France, who wrote a history of the French kings.That means that in the latest wave of Vatican digitizations, special interest attaches to a 1369 translation of this work into French by Jean Golein.

This forms the second part of the codex Reg.lat.697, which can now be consulted online. La Généalogie des Roys de France commences at folio CXIIr. Note the flowers and tendrils which indicate that the idea of arbre is already playing on the minds of the artists. As one sees in the example below, the main line of kings is at centre-page, descending page by page through the book, and little roundel-link stemmata of each king's non-monarchical relatives are set off to one side.

This is not Golein's autograph of course. That, according to Delisle, is in the parliamentary library in Paris. The first part of the Vatican codex contains Golein's French rendering of the Flores chronicorum, also by Bernard Gui, which is a history since the time of Jesus of the popes and Roman emperors. Reg.lat.697 is wonderfully illuminated and offers us this notable conclave of cardinals:

The full list of digitizations this week (lacking 25 extra items that slipped online on Friday morning as I was finishing) follows:

Borg.copt.67,

Borg.sir.16,

Chig.C.VIII.230, with fine initials and miniatures including this Annunciation (though I could have sworn this angel has a horn!)

Ott.lat.1302,

Reg.lat.652,

Reg.lat.653,

Reg.lat.654,

Reg.lat.659,

Reg.lat.660,

Reg.lat.664,

Reg.lat.676,

Reg.lat.678,

Reg.lat.691,

Reg.lat.697, translation into French by Jean Golein of the Flores chronicorum of Bernard Gui (above)

Reg.lat.707,

Reg.lat.709,

Reg.lat.725,

Reg.lat.731,

Reg.lat.735,

Reg.lat.737,

Reg.lat.740,

Reg.lat.746,

Reg.lat.759,

Reg.lat.761,

Reg.lat.766,

Reg.lat.770,

Reg.lat.803,

Reg.lat.864,

Reg.lat.880,

Reg.lat.882,

Reg.lat.888,

Reg.lat.891,

Reg.lat.913,

Reg.lat.935, Reuilion

Sbath.251,

Urb.lat.843.pt.1,

Urb.lat.843.pt.2,

Vat.gr.1312.pt.1,

Vat.gr.1312.pt.2,

Vat.lat.1299, Expositio in Iohannem, anon.

Vat.lat.1302,

Vat.lat.1310,

Vat.lat.1317,

Vat.lat.1325,

Vat.lat.1382, Bottoni, Glossa Ordinaria, with some fine arbor juris diagrams, one of which has this interesting detail in the bottom panel:

Vat.lat.1384,

Vat.lat.1389,

Vat.lat.1430,

Vat.lat.1436,

Vat.lat.1445,

Vat.lat.1451,

Vat.lat.1453,

Vat.lat.1455,

Vat.lat.1481, Priscian

Vat.lat.1483, Priscian

Vat.lat.1543, Macrobius

Vat.lat.1547, Macrobius, commentary on Dream of Scipio

Vat.lat.1567, Homer, Iliad, in Lorenzo Valla translation to Latin

Vat.lat.1587, Horace, works, 12th century

Vat.lat.1591, Horace, poetry

Vat.lat.1599, Ovid

Vat.lat.1604, Ovid, Fasti, 12th century

Vat.lat.1605, Ovid, 15C

Vat.lat.1618, Statius, Achilleidis

Vat.lat.1623, Lucan, Civil Wars

Vat.lat.1642, Seneca, tragedies

Vat.lat.1643, Seneca, tragedies

Vat.lat.1654,

Vat.lat.1681, Boninius Mombrizio

Vat.lat.1687, Cicero, letters

Vat.lat.1690, Cicero, letters, dated 1462

Vat.lat.1692, Cicero, letters, 15C

Vat.lat.1693, Cicero, rhetorical works

Vat.lat.1702, Cicero, rhetorical works

Vat.lat.1712, Cicero, rhetorical works

Vat.lat.1714, Ad Herennium

Vat.lat.1718, Ad Herennium

Vat.lat.1724, Cicero, De finibus bonorum et malorum

Vat.lat.1726, Cicero, De finibus bonorum et malorum

Vat.lat.1727, Cicero, De finibus bonorum et malorum

Vat.lat.1728, Cicero, Tusculan Disputations

Vat.lat.1733, Cicero, Tusculan Disputations

Vat.lat.1734, Cicero, De Officiis

Vat.lat.1739, Cicero, philosophy

Vat.lat.1740, Cicero, philosophy

Vat.lat.1741, Cicero, Scipio's Dream, plus anonymous works bound in back

Vat.lat.1744, Cicero, speeches

Vat.lat.1745, Cicero, speeches

Vat.lat.1748, Cicero, speeches

Vat.lat.1751, Cicero, speeches, dated 1452

Vat.lat.1753, Cicero, speeches

Vat.lat.1755, Cicero, speeches

Vat.lat.1756, Cicero, speeches

Vat.lat.1758, Cicero, philosophical works, 15C

Vat.lat.1759, Cicero, philosophical works, 15C

Vat.lat.1760, Cicero On Laws, Plutarch Lives in Brutus translation

Vat.lat.1761, Quintilian

Vat.lat.1763, Quintilian

Vat.lat.1764, Quintilian

Vat.lat.1765, Quintilian

Vat.lat.1768, Quintilian

Vat.lat.1771, Quintilian speeches, dated 1459

Vat.lat.1774, Quintilian speeches, dated 1455

Vat.lat.1776, Latin panegyrics

Vat.lat.1777, Pliny the Younger, Letters, 15C

Vat.lat.1779, Josephus in Rufinus Latin translation

Vat.lat.1782, Phalaridis et Bruti epistulae

Vat.lat.1784, Poggio Braccolini: De varietate fortunae (On the Vicissitudes of Fortune, 1447)

Vat.lat.1786, Aeneas Silvius Piccolomini (Pius II), many key writings

Vat.lat.1789, Epistulae 1-119 of Marsilio Ficino, as later published - Rome Reborn

Vat.lat.1799, Thucydides, Peloponnesian Wars, Lorenz Valla's Latin translation; dated 1452

Vat.lat.1800, ditto

Vat.lat.1810, Polybius, 15C

Vat.lat.1826,

Vat.lat.1829, Aulus Hirtius, Caesar's Commentaries on the Gallic War, 15C

Vat.lat.6719,

Vat.lat.13619,

Vat.lat.14749,

This is Piggin's Unofficial List number 117. If you have corrections or additions, please use the comments box below. Follow me on Twitter (@JBPiggin) for news of more additions to DigiVatLib.

Delisle, L. "Notice sur les manuscrits de Bernard Gui," in Notices et extraits des manuscrits de la Bibliothèque nationale et autres bibliothèques, XXVII, 2 (1879), 169-455. https://archive.org/

Klapisch-Zuber, Christiane. L’ombre des ancêtres. Paris: Fayard, 2000.

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impactcomicscbr · 7 years ago

Text

NEW STUFF FRIDAY 30th JUNE 2017

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BATMAN BY AZZARELLO & RISSO DELUXE ED HC

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FLASH GORDON KINGS CROSS TP

FLASH TP VOL 09 FULL STOP

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GREAT LAKES AVENGERS TP VOL 01 SAME OLD SAME OLD

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MOON GIRL AND DEVIL DINOSAUR TP VOL 03 SMARTEST THERE IS

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BAKE SALE GN

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BATMAN IN THE SIXTIES TP

BATMAN THE KILLING JOKE SPECIAL ED HC

BATMAN TP VOL 01 I AM GOTHAM (REBIRTH)

BATMAN TP VOL 01 THE COURT OF OWLS (N52)

BATMAN UNDER THE RED HOOD TP

BIRDS OF PREY TP VOL 05 SOUL CRISIS (N52)

BUFFY HIGH SCHOOL YEARS PARENTAL PARASITE TP

CAPTAIN AMERICA WINTER SOLDIER ULTIMATE COLLECTION TP

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COLOR YOUR OWN SPIDER-MAN TP

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GRAYSON TP VOL 04 A GHOST IN THE TOMB

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HALO LIBRARY ED HC VOL 02

HEAD LOPPER TP VOL 01 ISLAND OR A PLAGUE OF BEASTS (MR)

I AM A HERO OMNIBUS TP VOL 01

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INFAMOUS IRON MAN TP VOL 01 INFAMOUS

INFINITY WAR TP

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JUSTICE LEAGUE TP VOL 01 ORIGIN (N52)

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LEGEND OF WONDER WOMAN HC

LEGENDS 30TH ANNIVERSARY EDITION TP

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MARVELS GUARDIANS OF GALAXY PRELUDE TP

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MIGHTY MORPHIN POWER RANGERS TP VOL 03

MISS KOBAYASHIS DRAGON MAID GN VOL 01

MOTHER PANIC TP VOL 01 WORK IN PROGRESS (MR)

MS MARVEL TP VOL 02 GENERATION WHY

MS MARVEL TP VOL 03 CRUSHED

MS MARVEL TP VOL 04 LAST DAYS

MS MARVEL TP VOL 05 SUPER FAMOUS

NEWSPRINTS GN VOL 01

NIGHTWING TP VOL 02 BACK TO BLUDHAVEN (REBIRTH)

NIGHTWING TP VOL 04 SECOND CITY (N52)

OTOME MANIA GN VOL 01

PAKNADEL AND TRAKHANOV TURNCOAT TP

PAPER GIRLS TP VOL 01

PATSY WALKER AKA HELLCAT TP VOL 01 HOOKED ON FELINE

PROVIDENCE LTD HC ACT 02 (MR)

RAT QUEENS TP VOL 01 SASS & SORCERY (MR)

RAT QUEENS TP VOL 02 FAR REACHING TENTACLES OF NRYGOTH

RAT QUEENS TP VOL 03 DEMONS (MR)

ROCKET RACCOON TP VOL 01 A CHASING TALE

SABRINA THE TEENAGE WITCH COMP TP 1962-1971

SAGA TP VOL 01 (MR)

SAGA TP VOL 02 (MR)

SAGA TP VOL 05 (MR)

SAGA TP VOL 06 (MR)

SAGA TP VOL 07 (MR)

SANDMAN TP VOL 10 THE WAKE NEW ED (MR)

SANKAREA GN VOL 01 UNDYING LOVE

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SCOOBY APOCALYPSE TP VOL 01

SECRET PATH GN

SEX CRIMINALS TP VOL 03 THREE THE HARD WAY (MR)

SIXTH GUN TP VOL 01 COLD DEAD FINGERS (SQ1)

SPECIES DOMAIN GN VOL 02

SPIDER-MAN BRAND NEW DAY COMPLETE COLLECTION TP VOL 01

STAR WARS DARTH VADER TP VOL 02 SHADOWS AND SECRETS

STAR WARS DARTH VADER TP VOL 03 SHU TORUN WAR

STAR WARS DARTH VADER TP VOL 04 END OF GAMES

STAR WARS HC VOL 02 AJA COVER

STAR WARS HC VOL 02 DODSON DM ALTERNATE COVER

STAR WARS KANAN TP VOL 01 LAST PADAWAN

STAR WARS TP JOURNEY TO SW FORCE AWAKENS SHATTER EMPIRE

STARDROP GN VOL 02 PLACE TO HANG MY SPACESUIT NEW PTG

STARFIRE TP VOL 01 WELCOME HOME

STRANGE FRUIT HC (MR)

SUICIDE SQUAD TP VOL 04 DISCIPLINE AND PUNISH (N52)

SUICIDE SQUAD TP VOL 05 WALLED IN (N52)

SUPERGIRL TP VOL 03 SANCTUARY (N52)

SUPERMAN EARTH ONE TP VOL 03

TRANSFORMERS ANIMATED TP VOL 12

TWITTERING BIRDS NEVER FLY GN VOL 03 (MR)

ULTIMATE SPIDER-MAN ULTIMATE COLLECTION TP VOL 02

UNBEATABLE SQUIRREL GIRL HC VOL 01

USAGI YOJIMBO TP VOL 31 HELL SCREEN

WE STAND ON GUARD TP (MR)

WELCOME BACK TP VOL 02

WOLVERINE AND X-MEN BY JASON AARON TP VOL 06

WOLVERINE OLD MAN LOGAN TP VOL 04 OLD MONSTERS

WONDER WOMAN BY GEORGE PEREZ TP VOL 02

WONDER WOMAN TP VOL 06 BONES (N52)

Y THE LAST MAN TP BOOK 01 (MR)

#featured

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tatjanbe · 4 years ago

Photo

REALNESS WITH A TWIST

Realness is all about the illusion of blending in with heteronormative gender stereotypes. For instance, a trans woman presenting as a cisgender woman, or a gay man presenting as a straight man. This category has a strong historical importance for the Ballroom community as the ability to “pass” as heterosexual in the mainstream society of earlier decades was an important survival mechanism to stay safe in less tolerant environments. In many parts of the world, it still is today. Realness with a twist is judged on the participants' ability to blend in with heterosexuals, then returning to vogue like a femme queen.

He is standing at the very end of a big plaza like room, a room without a roof. When Lenny looks up the grey sky had vanished and there was only a bright blue and shining light. The space reminded him of a greek agora. The plaza is formed in an additive way, with the side arcades tipped up to form the space. [1] Young and old came streaming into it from the corners that configured it as an open place where people could congregate informally on the spur of the moment. [2] The forum was disposed with a view to its purpose and uses so that if there were many people the square would not be too small, but if there were only a few people it would not appear empty. [3]

Viewed in isolation, the ornamentation of the Courts seems bizarre and extravagant. [4] Brilliant, clear and with deep toned shadows, it makes up the equilibrium of the whole by contrasting its variety with the pulpy softness of the female figure, glowing with all the charms of colour, bright, gleaming, mellow, full of all the voluptuous luxury of female charms rich and swelling. [5] The orders are at once emblems of people of different gender and age, and the measure by which the building is laid out. [6] […]

The house turns to Lenny and says: „Here the feminine is not just the yawning void of a non subjective body but signifies an inter/trans subjectivizing structure/encounter/space where potentially human subjects co emerge and co transform within a space of minimal difference. [7] I am belonging to neither of the binary categories, yet traversing both. [8]“

[1] Eisenman, Written into the Void

[2] Casey, The World on Edge

[3] Williams, Daniele Barbaros Vitruvius of 1567

[4] Bergdoll Oechslin, Fragments Architecture and the Unfinished

[5] Harrison Wood Gaiger, Art in Theory 1648 1815

[6] Macarthur, The Picturesque

[7] Zajko, Laughing with Medusa

[8] Braidotti Hlavajova, Posthuman Glossary

0 notes

tatjanbe · 4 years ago

Text

Swept Away

The sky is grey, as always at that time of the year. It is cold outside and the everblowing wind gently touches Lenny’s body. „Vienna… You’re a slow city. You're too tied to the past. [1]“, he thinks as he walks down the street. The buildings around him let him reminisce about the former glory of the city. „The glam is gone. Something is missing here nowadays. It’s O-P-U-L-E-N-C-E: Opulence! [2]“ He turns around the corner and stops. This is the house. Lenny was waiting so long for this moment. An invitation to this kind of ball was not something usual, especially not for a former pope. The high-rise next to him leaves him in its shadow. Behind a wall one could see the contour of the building. It is clean, it is rational, it doesn’t talk to its surroundings. Metaphorically, it symbolizes force, male fertility, masculine violence. [3] Lenny stares at the white geometrical facade. „Within modern, functionally differentiated society such unilateral control has become untenable. [4]“, Lenny whispers, „What a strange location for this kind of event.“ Moreover, it should seem strange that in a play performed in this same location, [5] all the many male roles remain subordinate, supporting rather than controlling the play’s action. [6]

Now there is only the wall that separates him from his final destination. In a sense, there are two systems coexisting, [7] one outside and one inside. He orbits the building while searching for the entry. „It is here that the possible, the dreamt, […] is staged. [8]“ Lenny hesitates but something drags him inside. While passing the threshold, the outside, unreal world was evolving toward its apocalypse. [9] Suddenly it was dark around him. He was waiting in the shadow of a tunnel and there would scarcely be a trace of Outside. [10]. Blackness swept back over him in an instant and a moment later the lighting system in the tunnel turned on. [11] Lenny walks toward the end where a doorman awaits him. „Well, Holy father first of all, a small piece of information of a practical and picturesque nature... Under the desk, on the right, you will find a button.“ [12], he says. „The house is already waiting for you.“

House:

„I’m living in the space

I'm following your trace

Tell me what's going on

I'm gonna make you great

Girl are you air to see

Movin' it, come to me

Baby just come to me

Be what you want to be

Using your fantasy“ [15]

[1] The Young Pope

[2] Paris is Burning

[3] Hays, Architecture Theory since 1968

[4] Schumacher, The Autopoiesis of Architecture Vol 2

[5] Senseney, The Art of Building in the Classical World Vision

[6] Shakespeare, Richard III

[7] Vee, Coding Literacy

[8] Buehlmann, Mathematics and Information in the Philosophy of Michel Serres

[9] Castells, The Power of Identity

[10] Asimov, Complete Robot Anthology

[11] Asimov, Complete Robot Anthology

[12] The Young Pope

Strike a Pose

After entering Lenny was dazzled from the sudden bright light. A three sided entrance staircase welcomed him […], that led visitors to the entrance platform [1] Lenny goes up and looks around. He is standing at the very end of a big plaza like room, a room without a roof. When Lenny looks up the grey sky had vanished and there was only a bright blue and shining light. The space reminded him of a greek agora. The plaza is formed in an additive way, with the side arcades tipped up to form the space. [2] Young and old came streaming into it from the corners that configured it as an open place where people could congregate informally on the spur of the moment. [3] The forum was disposed with a view to its purpose and uses so that if there were many people the square would not be too small, but if there were only a few people it would not appear empty. [4]

The inside of the house in no way resembled what Lenny has seen at his arrival. Contrary to the masculine and introverted appearance, the inside was open and light, opulent and beautiful. Viewed in isolation, the ornamentation of the Courts seems bizarre and extravagant. [5] Brilliant, clear and with deep toned shadows, it makes up the equilibrium of the whole by contrasting its variety with the pulpy softness of the female figure, glowing with all the charms of colour, bright, gleaming, mellow, full of all the voluptuous luxury of female charms rich and swelling. [6] The orders are at once emblems of people of different gender and age, and the measure by which the building is laid out. [7]

Inside all kinds of creatures were tumbling, walking and crawling around. The inhabitants of the unknown worlds […], brutes with six fingers on each hand; fauns born from the worms that develop between the bark and the pulp of trees; sirens with scaly tails who seduce seamen; […] ass-centaurs, men to the navel and asses below; Cyclopes, each with a single eye the size of a shield; Scylla, with a girl’s head and bosom, a she-wolf’s belly, and a dolphin’s tail […] the cynocephali, who cannot say a word without barking; sciopods, who run swiftly on their single leg and when they want to take shelter from the sun stretch out and hold up their great foot like an umbrella; […] human bodies with heads of the most diverse animals … [8] The space in between the columns was occupied by artists of this theatre, arranged in six groups, which will process in the following order [9]: REALNESS, BEAUTY, RUNWAY, FASHION, SEX SIREN, VOGUE

House:

„The category is: Royalty!“ [10]

The Plaza emptied itself and the crowd was cheering from the side. Only one body was left amidst, starting to perform a most intriguing show. Behind Lenny somme other figures were chatting:

House:

„Welcome to the ball, Miquela!“

Miquela is singing:

„I miss what we used to be

Out every night in the streets

You hanging all over me

Acting like we royalty“ [11]

Octavia St. Laurent:

„Come on now, it is a known fact that a woman do carry an evening bag at dinner time. There's no getting around that!“ [12]

Scylla:

„What exactly is a ball?“

Octavia St. Laurent:

„Balls are a gathering of people who are not welcome to gather anywhere else.“ [13]

House:

„Brutality, intensity, great gentleness, extreme delicacy, extreme strength. [14] You are turning it on the runway!“

One of the Cyclopes turns to Lenny and asks: „Are you homosexual, Your Eminence?“ [15] Then he asks the house whether it actually considers itself to be a transgender person. [16]

House:

„I am. Am I? Here the feminine is not just the yawning void of a non subjective body but signifies an inter/trans subjectivizing structure/encounter/space where potentially human subjects co emerge and co transform within a space of minimal difference. [17] I am belonging to neither of the binary categories, yet traversing both. [18]

[1] Leatherbarrow Eisenschmidt, Twentieth Century Architecture

[2] Eisenman, Written into the Void

[3] Casey, The World on Edge

[4] Williams, Daniele Barbaros Vitruvius of 1567

[5] Bergdoll Oechslin, Fragments Architecture and the Unfinished

[6] Harrison Wood Gaiger, Art in Theory 1648 1815

[7] Macarthur, The Picturesque

[8] Eco, The Name of the Rose

[9] Harrison Wood Gaiger, Art in Theory 1648 1815

[10] POSE

[11] Miquela, Hard Feelings

[12] Paris is Burning

[13] POSE

[14] Le Corbusier, Toward an Architecture

[15] The Young Pope

[16] Hovestadt Buehlmann, Quantum City

[17] Zajko, Laughing with Medusa

[18] Braidotti Hlavajova, Posthuman Glossary

Becoming Eve

Estranged by this conversation Lenny leaves the plaza. He walks onto a gallery that connects several chambers. The architectural decoration became increasingly extravagant to attract continued attention. [1] Dimensions stereotypically condemned as feminine, weak, or frivolous—pink, chintz, boudoir chairs—received validation. [2] Curious what’s behind, Lenny opens one of the doors and glances inside. It was a long rectangular room. [3] It was bright with sunshine, the walls were alive with decoration, the table was set, and the odor of the food was enticing. [4] In between closets clothes out of the most interesting fabrics were lying around and two women were getting dressed. Makeup and female smells combine to generate a softness that bewitches and exhausts. [5] Lenny spots one of the Sirens, whose alluring beauty already seduced him at the Plaza.

Siren:

„“You think I just woke up one day and poof, I look like this? No. It takes work, drive, sacrifice to be a woman.” [6]

Lady Gaga:

„Generations of women have been told by advertisements, films, and parents that the natural female body requires enhancement and adornment to be truly feminine. [7] I portray myself in a very androgynous way and I love androgyny.“ [8]

The Siren turns around and looks Lenny in the eyes. Out of excitement she bursts out of the room and starts to run outside of the building. Lenny follows her. A garden more inviting than Eden would then meet the eye, and springs of joy murmur on every side. [9] He has never seen something so beautiful. It remembers the Garden of Eden, the sufficient paradise, land of milk and honey, and the desert where manna fell from heaven, and the hut where pitchers, as though they were springs, poured forth their contents. [10] There are trees not similar to any we know, but trees of life, of immortality, of knowledge, of apprehension, of understanding, and of the conception of good and evil. [11] Lenny starts looking for the Siren. He has a feeling inside of him, one that he had never had before, one that he could not fight anymore. He cultivates only flowers that are real but seem artificial, has abnormal love affairs, inflames his imagination with drugs, prefers imaginary journeys to real ones, enjoys late medieval texts written in effete and sonorous Latin, and composes symphonies of liquors and perfumes, transferring the sensations of hearing to those of taste and smell; in other words he constructs a life made up of artificial sensations, in an equally artificial environment in which nature, rather than being recreated, as happens in works of art, is at once imitated and negated, re elaborated, languid, disquieting, sick... [12] Suddenly he spots her behind one of the trees. For him she is sex, absolute sex, no less. [13] Lenny runs to her and they fall into their arms. Such pleasure took he to behold this flowery plat, the sweet recess of Eve thus early, thus alone; her heavenly form angelic, but more soft, and feminine, her graceful innocence, her every air of gesture or least action overawed; his malice, and with rapine sweet bereaved; his fierceness of the fierce intent it brought: That space the evil one abstracted stood from his own evil, and for the time remained stupidly good, of enmity disarmed, of guile, of hate, of envy, of revenge; but the hot hell that always in him burns. [14] Such sex could be cosmic, or Dionysian, or unquestionably weird. [15]

Lenny:

„Laymen always think we priests are scandalized by even the slightest things, whereas the truth is the exact opposite. We are never scandalized, no profession has to deal with sin on such a continual basis as ours. The confessional is our operating room. Just as surgeons have no fear of blood so we priests are no longer afraid of scandal and sin.“ [16]

Siren:

„If Adam and Eve never left the Garden of Eden they would have not become human beings.“ [17]

[1] Bonnemaison Macy, Festival Architecture

[2] Hays, Architecture Theory since 1968

[3] Asimov, Complete Robot Anthology

[4] Asimov, Complete Robot Anthology

[5] Calasso, The Marriage of Cadmus and Harmony

[6] POSE

[7] Zimring, Encyclopedia of Consumption and Waste

[8] Braidotti Hlavajova, Posthuman Glossary

[9] Wollstonecraft, Complete Works

[10] Serres, The Five Senses

[11] Voegelin, Order and History 4

[12] Eco, On Beauty A History of a Western Idea

[13] Rendell Penner Borden, Gender Space Architecture

[14] Milton, Paradise Lost

[15] Davis, High Weirdness

[16] The Young Pope

[17] Buehlmann Hovestadt, Coding as Literacy

Having a Ball

Lenny and the Siren enter the house again. Suddenly it was very quiet and they wondered where all the other beings had disappeared. A gentle wind blows through the window, it has become night. Through a majestic door they enter into the main hall, the ballroom, located underneath the Plaza. The stellar pattern of the floor recalls a type of medieval cosmological patterns. [1] The floral theme alluded to the association with the women of the house. [2] We here move to a space in which what matters is a process of subtle becoming other: of gradually dissolving traits of being standardly male as these give way to certain accustomed ways of being female, and vice versa; the same ambiguity obtains for the dyad of human/animal. [3] Useless luxury; ostentatious luxury; wastefully excessive luxury. [4] Observe that part of a beautiful woman where she is perhaps the most beautiful, about the neck and breasts; the smoothness; the softness; the easy and insensible swell; the variety of the surface, which is never for the smallest space the same; the deceitful maze, through which the unsteady eye slides giddily, without knowing where to fix, or whither it is carried. [5] Such was the appearance of the ballroom.

House:

„And now for the next category: Bizarre!“

Everybody gathered in the hall to view the continuance of the spectacle. Perhaps it is a riot, a party, a free space, an invisible space, a non space, a commonplace. [6] Possessing ‘realness’ being able to pass for something you are not was the highest form of praise amongst competitors at the balls, yet the scene also explicitly signals that identities involve performative acts, and little more than that, and therefore might be thought to be hardly real at all. [7]

House:

„Thank you, but that’s a chop!“

Lenny seemed at ease with the mix of men who have sex with men and a few women—transgender and those assigned female at birth. [8] Gesticulating bodies form a chain with clothes as a second skin, regulated by the gestures of fashion which play a role in the marking and disguising of sex differences. [9] While the performance was ongoing, the house started speaking to Lenny.

House:

„In Rome, boys played the role of women on stage in a context read as witty, poetic and intellectually playful; the descent of the players into the audience for general dancing as the performance finished brought the literary figure of polymorphous sexuality into the social orbit.“ [10]

Lenny:

„ In ancient Greece, everyday situations and encounters with the gods offered many such occasions. [11] But we have forgotten. We have forgotten to masturbate to use contraceptive to get abortions to celebrate gay marriages to allow priests to love each other, and even to get married. We've forgotten that we can decide to die if you detest living, we've forgotten to have sexual relations for purposes other than procreation without feeling guilty! To divorce, to let nuns say mass to make babies in all the ways science has discovered and will continue to discover. In short my dear, dear children not only have we forgotten to play we have forgotten to be happy.“ [12]

Lenny is aroused, he puts down his robe and goes onto the stage. The dance with unfolding matter takes place inside of him. [13]

House:

„May you, once a day, in order to cool it down, forget your culture, your language, your nation, your dwelling place, your village’s soccer team, even your sex and your religion, in short, the thickness of your enclosures.“ [14]

[1] Costelloe, The Sublime

[2] Blackwell, Nineteenth Century Architecture

[3] Casey, The World on Edge

[4] Asimov, Complete Robot Anthology

[5] Grillner, Ramble Linger and Gaze

[6] Braidotti Hlavajova, Posthuman Glossary

[7] Burrows, Fictioning

[8] Allen, Ivenceremos the Erotics of Black Selfmaking in Cuba

[9] Hays, Architecture Theory since 1968

[10] Gillgren, Performativity and Performance in Baroque Rome

[11] Kittler, The Truth of the Technological World

[12] The Young Pope

[13] Braidotti Hlavajova, Posthuman Glossary

[14] Buehlmann, Mathematics and Information in the Philosophy of Michel Serres

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