#vol. xxxiv

[victusinveritas]

This statue was created by French sculptor Philippe Kaeppelin (1918 - 2011) and stands in Auvers, Haute-Loire, in France. The statue is made of bronze and was erected in 1995.

It depicts the battle between the Beast of Gevaudan and Marie-Jeanne Valet that took place on August 11th 1765. During the fight, Valet defended herself and her sister by stabbing the beast in the chest with a spear. While the strike did not kill the creature, the two girls escaped alive. Legend has it that La Bête stood on her hind legs, placing a paw over the wound and rolled into the river nearby - vanishing until her next kill. As you do.

A court was able to examine the spear that had been used. It had reportedly pierced at least three inches into the Beast's chest, as that was the amount of blood on the weapon. Valet's sister told the court that the monster was "the same size as a big farm dog, having a big flat head, black jaws with big teeth, throat white and grey neck. She was much bigger at the front than at the rear and had a black back."

(18th-century engraving of la Bête du Gévaudan, The London Magazine, vol. xxxiv, May 1765 (reprinted in Montague Summers, Werewolf, 1933).)

[almackey]

Scapegoat in Victory: James Longstreet and the Battle of Second Manassas

This article by Professor Gary Gallagher appeared in Civil War History, Vol. XXXIV, No. 4, December 1988, pp. 293-307. He tells us, “Fifteen years after the victory at Second Manassas, James Longstreet’s conduct at the battle came under severe criticism. With both Lee and Jackson in their graves and thus unable to testify, a coterie of former officers in the Army of Northern Virginia claimed that…

[verobatto]

Destiel Chronicles

Vol. XXXIV

It was a love story from the very beginning

I can see your pain...

(8x08/8x10/8x13)

Hello my friends!! This is another meta from my meta series. Today I'm gonna talk about how Dean starts to see in Cas something is odd, he sees him sad, and depressed, and he begins to be worried about him.

I want to say thank you to my wonderful friend here, @agusvedder , she made the gifs for this meta and discussed the episodes with me.

Castiel's sadness

Knowing Cas from season 7 was depressed, and then that he wanted to stay in Purgatory, gave us a sad idea about how Castiel was feeling.

We are going to talk first about episode 8x08 Hunter Heroici, Dabb's episode.

Cas starts to share more time with their human friends. But he is still kind of clueless about humans, and everything. He's literal with words and human's expression, and that had been the fluel for a lot of jokes in the show.

When Dean and Cas were talking in that gas station, Dean was questioning what Castiel would do now, because it seems he was kind of glued to them. He thought maybe now that they're back on the road, Cas would do the things he used to do, angel's stuffs. But no, he's still there with them. So he had to ask him...

So is evident, Cas don't want to talk about angels, or Heaven, or coming back to Heaven, he's afraid, and ashamed, and it mortifies him. He needs to avoid anything that hot to do with his past, so he decided to stay with his humans friends. And imitate them. Because he sees in Dean and Sam two good humans that help people.

DEAN: So what now? Move to Vermont, open up a charming B&B?

CASTIEL No. I still want – I still need to help people. So... [smiles] I'm gonna become a hunter.

Is so important the switch in the words here... He changed the WANT for the NEED. He needs to hel people. Because he needs to do it, to feel better with himself. To get better from his sadness.

Castiel tries too hard to be a good hunter, but his lack of "humanity" makes it difficult. That's why he fails in everything he tries to do

And there's a little foreshadow hidden in this piece of dialogue... Trying to decipher the case of the man who's heart jumped out of his chest.

SAM: So he stashes his car at the park across the street, meets Olivia there.

DEAN: His wife probably found out about it, and it broke her heart.

SAM: So she breaks his. Sounds witchy.

DEAN: Yes, it does. Guy was living a lie, and it came back to bite him in the ticker. But nice job on the bladder infection.

He broke her heart so she broke his.

If this isn't a a foreshadow for the incoming crypt scene and for the season 9 scene in which Dean kicked off Cas from the bunker, I don't know what it is...

He was living a lie, that's for sure foreshadowing the crypt scene, when Dean will realize what was happening with Castiel.

Let's jump to the big Destiel dialogue now...

CASTIEL Your father... Beautiful handwriting.

DEAN How you feeling, Cas?

CASTIEL I'm fine.

DEAN Well, I just – I – I know that when... I got puked out of Purgatory, it took me a few weeks to... find my sea legs.

CASTIEL I'm fine.

DEAN Don't get me wrong. I'm – I’m happy you're back. I'm – I’m freaking thrilled. It's just this whole mysterious-resurrection thing – it always has one mother of a downside.

Dean is trying to make Cas talk, because he's seeing Cas is avoiding Heaven's topic. And maybe he's trying to get to him, talking about that huge experience they had in Purgatory. Trying to empathize with the angel...

CASTIEL: [closes the journal] So, what do you want me to do?

DEAN: Maybe take a trip upstairs.

CASTIEL: To Heaven?

DEAN: Yeah, poke around, see if the God squad can't tell us how you got out.

CASTIEL: No.

Dean is still feeling there's some piece missing, he needs answers, but he can't see far more... Cas is in pain, and he will know again and right in this scene.

Dean goes for the normal way to look things... Of course, angels would kill Cas, but the truth is worst than that...

Kill himself? Dean is in shock. And Sam is there interrupting.

Cas saw a way out from that conversation, so he ran away towards Sam, but Dean is so in alarm about what Cas had just said, that he can even get up from the bed. And while his brother are talking, he gave a quick glance to Cas... He's worried...

And this episode already gave us a guy with a blue tie, jumping out of the building, commiting suicide.

Acting awkwardly around you

We are still in episode 8x08, I will point two weird attitudes coming from Dean...

The first one is the classis "I'll watch over you."

Is a simple, honest angelical offer to make. Angel watch over humanity. And why not watch over Dean? Why not if Cas is an angel and that's what angels supposed to do.

But Dean takes this as another kind of offer, it makes him uncomfortable, just thinking about Cas standing there, watching him sleep... Is so "creepy" but mostly... Gay.

So he snapped off that idea "That's not gonna happen," making that face that show discomfort, and some kind of stress. He's very conscious about the offer, because he's in love with Castiel.

Then... We had the old lady scene... I found a couple of good points...

OLD WOMAN: You are so pretty, Charles.

(...) DEAN notices an attractive female CARER walk by.

Why is this immediately pointed after a lady calling Castiel pretty? Because Dean is conscious about that too... Cas is pretty, and then a pretty Young lady passed by and Dean goes there. Yeah. No homo. Is just subtext.

CASTIEL: That's not my name.

OLD WOMAN: Oh! You look so much like my third husband.

I don't know if someone already pointed this in the fandom but... Cassie/Lisa... Are one two... And now Castiel is the third for Dean. 🤣🤣🤣

And this one here...

OLD WOMAN Oh, my diamonds, yes. I hid them there. [to CASTIEL] I'm sorry, Charles. I didn't trust you. You were quite the bounder.

Okay... So Charles/Castiel is the binder, this is a funny foreshadow about what Cas would do to Dean... He will break his heart.

Jumping now to episode 8x10 Turn and Frayed

Not mention the scene in which Castiel actually is watching over Dean, I want to talk about the exaggerated and awkward reaction from Dean when CAS is standing behind him, and he opens his laptop, with the "Busty Asian Beauties" on it...

Why is he reacting like that? If Cas is a dude, and the normal reaction between dudes would be just poker face maybe a joke or wherever, but no. He's in front of his crush, people! He's ashamed! He even covers the screen with his hand!! He looks back to see if Cas is watching. He's ashamed because he cares about what As would think. Because he is in love with him. Okay I will repeat this a lot of times during season 8...

And this whole episode here is a parallel to 5x03, Free to be you and me, we even had an intent of date!

And Dean is flirting again, and watching Castiel mouth, then touching his own lips, I mean... This is it. This was another date between them. A hunting date. The whole episode my dears.

Dean is also feeling proud when CAS requested the ingredients list Kevin was writing. Yeah, this is my handsome angel friend, nothing he can't get.

In this episode, Dean and Sam saw Castiel had killed Samandriel, suspecting there was something really bad going on with the way Cas was behaving.

Bi Dean exposition

Episode 8x13 Everybody hates Hitler, written by Edlund, is a big Bi Dean exposition.

Before we will be talking about that, I want to point here, this scene...

Dean is avoiding Sam's gaze, he is like playing with some books, because he needs to make that question as if that was nothing, just a bro, worried about his best bro, so, yeah...

But while he's doing that, is plenty obvious to the audience, he's trying so hard, and he's really worried, and he's ashamed for asking that. Because he was trying to contact Cas and he didn't answer his phone, so he's really, REALLY, worried, and struggling with Castiel's absence.

But now let's talk about how he's bi self was exposed when he met the rabbi's grandson.

You already recall the scene in the restaurant. The guy and Dean exchanged gazes, and the rabbi's grandson flirted with him.

And when Dean went to face him, he got very VERY flustered, and everything was awkward, and he even gave the guy a flirting gaze... Okay... He named that MY GAY THING.

Now... Why is Dean disappointed in this dialogue... (Also, pay attention to the symbolism and the parallel is hidden here...)

BEARDED YOUNG MAN The rabbi who was murdered, Isaac Bass – he was my grandfather. That's why we're here. When you guys started to follow up on his case, we started following you.

This is placed after the episode in which the guys met his grandfather, so this is a parallel to that episode, but also, what is about to coming, is a Destiel brokenheart parallel (the crypt scene)

DEAN So, wait. What you're saying is that you and me – we, uh, didn't have a moment?

You and me. YOU AND ME. Not YOU, JUST YOU HAD A MOMENT WITH ME. BUT YOU AND ME!

Because Dean had a moment there too... He thought they, together, had a moment. (Bi Dean alarm sounding).

RABBI BASS’ GRANDSON No, man. I was tailing you.

Now... The deception, and the foreshadownfor the broken heart...

Cas I thought we had something special, you and me, but it looks like it was just me feeling that way...

DEAN [to SAM] Told you I was being followed. He was my gay thing.

[to RABBI BASS’ GRANDSON] It was really good. You really had me there. It was very smooth.

Trying to remain cool... But he fooled him.

He will feel fooled by Castiel too.

Can I die now? Okay, after finish this, then I die.

To Conclude

Episode 8x08 showed us a depressed Castiel, thinking about suicide, not being able to come back to Heaven, and trying to stay with Dean and Sam, trying to be a hunter like them, because they're role models to him. And he NEEDS to keep helping people, he need to feel himself as a good person.

We had a worried Dean and and awkward behavior coming from him, with huge heartbroken (crypt scene) foreshadow everywhere.

Episode 8x13 was exppsitional for Bi!Dean, and it had a lot of elements that acted like parallels with MoL legacy and, again, the crypt scene.

I hope you like this one, see you in the next Chronicles.

Tagging @metafest @magnificent-winged-beast @emblue-sparks @weirddorkylittlediana @michyribeiro @whyjm @koshisekisen @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @angelneedshunter @trickster-archangel @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @mishka-the-angel-of-saturday @dickpuncher365 @vampyrosa @foxyroxe-art @authorsararayne @anonymoustitans @mybonsai1976 @love-neve-dies @wildligia @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-is--endgame @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @tenshilover20

If you want to be tagged in this list, just let me know.

If you want to read the previous metas...

Links are right here: vol. XXXI, XXXII and XXXIII.

Buenos Aires, October 23rd 2019 6:20 PM

[thelibraryghost]

Medieval Arthurian Literature: A Resource List

Alliterative Morte Arthure Adler, Gillian. "'Ȝit þat traytour alls tite teris lete he fall': Arthur, Mordred, and Tragedy in the Alliterative Morte Arthure." Arthuriana, Vol. 25, No. 3 (Fall 2015), pp. 3-21. Benson, Larry D. ed. King Arthur's Death: The Middle English Stanzaic Morte Arthur and the Alliterative Morte Arthure. Kalamazoo, MI: Medieval Institute Publications, 1994. Crofts, Thomas H. "Perverse and Contrary Deeds: The Giant of Mont Saint Michel and the Alliterative Morte Arthure." In The Erotic in the Literature of Medieval Britain, edited by Amanda Hopkins and Cory James Rushton. Rochester, NY: Boydell & Brewer, 2007, pp. 116-131. Jefferson, Judith A. and Putter, Ad. "Alliterative Patterning in the Morte Arthure." Studies in Philology, Vol. 102, No. 4 (Autumn, 2005), pp. 415-433. Schray, Kateryna A. Rudnytzky. "The Plot in Miniature: Arthur's Battle on Mont St. Michel in the Alliterative Morte Arthure." Studies in Philology, Vol. 101, No. 1 (Winter, 2004), pp. 1-19.

Chrétien de Troyes Hinton, Thomas. "The Aesthetics of Communication: Sterility and Fertility in the Conte del Graal Cycle." In Arthurian Literature XXVI, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2009, pp. 97-108. Holmes, Jr., Urban T. "A New Interpretation of Chrétien's Conte del Graal." Studies in Philology, Vol. 44, No. 3 (Jul., 1947), pp. 453-476. Kelly, Douglas. "Gauvain and Fin' Amors in the Poems of Chrétien de Troyes." Studies in Philology, Vol. 67, No. 4 (Oct., 1970), pp. 453-460. Newby, Rebecca. "Illusory Ends in Chretien de Troyes' Erec et Enide." In Arthurian Literature XXXIV, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2018, pp. 1-21. Oliver, Lisi. "Spilled Wine and Lost Sovereignty in Chrétien's Perceval." Neuphilologische Mitteilungen, Vol. 97, No. 1 (1996), pp. 91-102. Poppe, Erich. "Chrétien's British Yvain in England and Wales." In Arthurian Literature XXXIII, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2016, pp. 29-69. Spensley, Ronald M. "Gauvain's Castle of Marvels Adventure in the Conte del Graal." Medium Ævum, Vol. 42, No. 1 (1973), pp. 32-37. Woods, William S. "The Plot Structure in Four Romances of Chrestien de Troyes." Studies in Philology, Vol. 50, No. 1 (Jan., 1953), pp. 1-15.

Geoffrey of Monmouth Echard, Siân. "'Whyche thyng semeth not to agree with other histories...': Rome in Geoffrey of Monmouth and His Early Readers." In Arthurian Literature XXVI, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2009, pp. 109-130. Flood, Victoria. "Arthur's Return from Avalon: Geoffrey of Monmouth and the Development of the Legend." Arthuriana, Vol. 25, No. 2 (Summer 2015), pp. 84-110. Henley, Georgia. "From 'The Matter of Britain' to 'The Matter of Rome': Latin Literary Culture and the Reception of Geoffrey of Monmouth in Wales." In Arthurian Literature XXXIII, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2016, pp. 1-28. Padel, O. J. "The Matter of Britain." In Arthur in Medieval Welsh Literature. University of Wales Press, 2013, pp. 56-71. Tolstoy, Nikolai. "Geoffrey of Monmouth and the Merlin Legend." In Arthurian Literature XXV, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2008, pp. 1-42. Lancelot Compilation Besamuca, Bart. "The Medieval Dutch Arthurian Material." In The Arthur of the Germans: The Arthurian Legend in Medieval German and Dutch Literature, edited by W. H. Jackson and S. A. Ranawake. Cardiff: 2000, pp. 187-228. Besamuca, Bart. "The Prevalence of Verse in Medieval Dutch and English Arthurian Fiction." Arthuriana, Vol. 15, No. 2 (Summer 2005), pp. 3-12. Johnson, David F. "Questing in the Middle Dutch Lancelot Compilation." In The Grail, the Quest, and the World of Arthur, edited by Norris J. Lacy. Rochester, NY: 2008, pp. 92-108. Hogenbirk, Marjolein. "A Comical Villain: Arthur's Seneschal in a Section of the Middle Dutch Lancelot Compilation." In Arthurian Literature XIX: Comedy in Arthurian Literature, edited by Keith Busby and Roger Dalrymple. Rochester, NY: Boydell & Brewer, 2003, pp. 165-176. Lacy, Norris J. "The Uses of Middle Dutch Arthuriana." Arthuriana, Vol. 15, No. 2 (Summer 2005), pp. 3-12.

Malory's Le Morte d'Arthur Clifton, Nicole. "Sir Gawain's Death and Prophecy in Malory's Morte Darthur." In Arthurian Literature XXXIV, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2018, pp. 52-68. Coleman, Dwayne C. "Murder, Manslaughter and Reputation: Killing in Malory's Le Morte Darthur." In Medieval and Early Modern Murder: Legal, Literary and Historical Contexts, edited by Larissa Tracy. Rochester, NY: Boydell & Brewer, 2018, pp. 206-226. Hoffman, Donald L. "Malory and the English Comic Tradition." In Arthurian Literature XIX: Comedy in Arthurian Literature, edited by Keith Busby and Roger Dalrymple. Rochester, NY: Boydell & Brewer, 2003, pp.177-188. Moss, Rachel E. "'And much more I am soryat for my good knyghts': Fainting, Homosociality, and Elite Male Culture in Middle English Romance." Historical Reflections, Vol. 42, No. 1 (Spring 2016), pp. 101-113. Radulescu, Raluca L. "Malory's Lancelot and the Key to Salvation." In Arthurian Literature XXV, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2008, pp. 93-118. Rushton, Cory J. "The Ladies' Man: Gawain as Lover in Middle English Literature." In The Erotic in the Literature of Medieval Britain, edited by Amanda Hopkins and Cory James Rushton. Rochester, NY: Boydell & Brewer, 2007, pp. 27-37. Rushton, Cory James. "The Tomb of the Kings: Imperial Space in Arthur's Camelot." In Arthurian Literature XXXVI: Sacred Space and Place in Arthurian Romance, edited by Sarah Bowden et al. Rochester, NY: Boydell & Brewer, 2021, pp. 175-192. Sklar, Elizabeth S. "'Laughyng and Smylyng': Comic Modalities in Malory's Tale of Sir Launcelot du Lake." In Arthurian Literature XIX: Comedy in Arthurian Literature, edited by Keith Busby and Roger Dalrymple. Rochester, NY: Boydell & Brewer, 2003, pp.189-198.

Prose Merlin Conlee, John. ed. Prose Merlin. Kalamazoo, MI: Medieval Institute Publications, 1998. Sir Gawain and the Green Knight Ashe, Laura. "Sir Gawain and the Green Knight and the Limits of Chivalry." In The Exploitations of Medieval Romance, edited by Laura Ashe et al. Rochester, NY: Boydell & Brewer, 2010, pp. 159-172. Ashton, Gail. "The Perverse Dynamics of Sir Gawain and the Green Knight." Arthuriana, Vol. 15, No. 3 (Fall 2005), pp. 51-74. Boyd, David L. "Sodomy , Misogyny, and Displacement: Occluding Queer Desire in Sir Gawain and the Green Knight." Arthuriana, Vol. 8, No. 2 (Summer 1998), pp. 77-113. Brewer, Derek. "Romance Traditions and Christian Values in Sir Gawain and the Green Knight." In Christianity and Romance in Medieval England, edited by Rosalind Field et al. Rochester, NY: 2010, pp. 150-158. Cartlidge, Neil. "Who Is the Traitor at the Beginning of Sir Gawain and the Green Knight?" In Arthurian Literature XXXIV, edited by Elizabeth Archibald and David F. Johnson. Rochester, NY: Boydell & Brewer, 2018, pp. 22-51. Clark, Cecily. "Sir Gawain and the Green Knight: Its Artistry and Its Audience." Medium Ævum, Vol. 40, No. 1 (1971), pp. 10-20. Cox, Catherine S. "Genesis and Gender in Sir Gawain and the Green Knight." The Chaucer Review, Vol. 35, No. 4 (2001), pp. 378-390. Dinshaw, Carolyn. "A Kiss Is Just a Kiss: Heterosexuality and Its Consolations in Sir Gawain and the Green Knight." Diacritics, Vol. 24, No. 2/3 (Summer - Autumn, 1994), pp. 204-226. Field, P. J. C. "A Rereading of Sir Gawain and the Green Knight." Studies in Philology, Vol. 68, No. 3 (Jul., 1971), pp. 255-269. Flood, Victoria. "'Fantoum and FayryȜe': Visions of the End of Arthurian Britain." In Arthurian Literature XXXVI: Sacred Space and Place in Arthurian Romance, edited by Sarah Bowden et al. Rochester, NY: Boydell & Brewer, 2021, pp. 149-174. Hardman, Philippa. "Gawain's Practice of Piety in Sir Gawain and the Green Knight." Medium Ævum, Vol. 68, No. 2 (1999), pp. 247-267. Henry, Avril. "Temptation and Hunt in Sir Gawain and the Green Knight." Medium Ævum, Vol. 45, No. 2 (1976), pp. 187-200. Puhvel, Martin. "Pride and Fall in Sir Gawain and the Green Knight." Neuphilologische Mitteilungen, Vol. 97, No. 1 (1996), pp. 57-70. Sweeney, Michelle. "Questioning Sir Gawain and the Green Knight: Teaching the Text Through Its Medieval English Christian Context." In Christianity and Romance in Medieval England, edited by Rosalind Field et al. Rochester, NY: 2010, pp. 161-175. Wadiak, Walter. "Gawain's 'Nirt' and the Sign of Chivalry." In Savage Economy: The Returns of Middle English Romance. Notre Dame, IN: University of Notre Dame Press, 2017, pp. 88-118. Whiteford, Peter. "Rereading Gawain's Five Wits." Medium Ævum, Vol. 73, No. 2 (2004), pp. 225-234.

Vulgate Cycle Jefferson, Lisa. "The Keys to the Enchantments of Dolorous Guard." Medium Ævum, Vol. 58, No. 1 (1989), pp. 59-79. Maloney, Kara Larson. "Evadeam, The Dwarf Knight from the Lancelot-Grail Cycle (ca. 1220-30)." In Medieval Disability Sourcebook: Western Europe, edited by Cameron Hunt McNabb. Punctum Books, 2020, pp. 365-378. Wood, Lucas. "'Chevaliers ocirre': Manslaughter, Morality and Meaning in the Queste del Saint Graal." In Medieval and Early Modern Murder: Legal, Literary and Historical Contexts, edited by Larissa Tracy. Rochester, NY: Boydell & Brewer, 2018, pp. 179-205. Welsh sources Padel, O. J. "The Earliest Texts." In Arthur in Medieval Welsh Literature. University of Wales Press, 2013, pp. 3-10.

[heyyouknowbts]

BTS as Florida man headlines master post

The OP that inspired it all

Vol I                Vol XXVI                Vol LI Vol II               Vol XXVII               Vol LII Vol III              Vol XXVIII              Vol LIII Vol IV              Vol XXIX               Vol LIV Vol V               Vol XXX                 Vol LV Vol VI              Vol XXXI                Vol LVI Vol VII             Vol XXXII               Vol LVII Vol VIII            Vol XXXIII              Vol LVIII Vol IX              Vol XXXIV Vol X               Vol XXXV Vol XI              Vol XXXVI Vol XII             Vol XXXVII Vol XIII            Vol XXXVIII Vol XIV            Vol XXXIX Vol XV              Vol XL Vol XVI             Vol XLI Vol XVII            Vol XLII Vol XVIII           Vol XLIII Vol XIX             Vol XLIV Vol XX              Vol XLV Vol XXI             Vol XLVI Vol XXII            Vol XLVII Vol XXIII           Vol XLVIII Vol XXIV           Vol XLIX Vol XXV            Vol L

BTS as Florida man: A Christmas Special

Kim Namjoon as Florida man

BTS as Florida man: Wholesome edition

[fairyringquilt]

La Bête du Gévaudan -The London Magazine, vol. xxxiv, May 1765

[bm-asian-art]

Small Model of Bullock or Humped Ox, ca. 2500 B.C.E., Brooklyn Museum: Asian Art

Small, summarily-modeled figure of a bullock or humped ox, one of a pair with 37.96, used to draw a toy chariot (37.92 and/or 37.98). These objects are comprised of various components that were found in a disassembled state during an archaeological dig. Their current configuration is not known to be original, and so “components” such as wheels, etc, are labeled with distinct and separate object numbers so that future re-configurations may be possible. Reddish pottery with an uneven surface. The horns are chipped. A hole pierces the animal's neck, to hold the wooden stick (modern) which yokes him to his mate. An almost identical animal from the same site is illustrated in the "Bulletin of the Museum of Fine Arts," Boston, Vol. XXXIV, October 1936, p. 87, figure 11. On page 88, it is stated "Toy vehicles of various shaped made of pottery, mounted on two or four wheels and drawn by a pair of humped oxen as in modern Sind, form an interesting feature of the collection in the Museum." In the account of the Chanhu Daro excavations in "The Illustrated London news" for November 14, 1936, p. 860, Dr. Emert Mackay says "...model casts of pottery in various shapes...together with the little humped oxen that drew them, are exceedingly common--much too many in number to have been only the toys of the children of the little town; they probably supplied the wants of other places, such as Mohenjo-daro, over a wide area." Size: 1 3/4 x 1 3/16 x 3 9/16 in. (4.5 x 3 x 9 cm) Medium: Hand-modeled terracotta

https://www.brooklynmuseum.org/opencollection/objects/3426

[mysterious-secret-garden]

18th-century engraving of la Bête du Gévaudan, The London Magazine, vol. xxxiv, May 1765.

[asfaltics]

and swerving legend

  must now; For now he shall be       1 of a contrary Opinion to what I was just now, for now I am so far from       2 any thing should be said of it. For now For now very are so far from [   ] more [   ] For its mighty rivers, so Rivers       3   it must needs follow that there be more now : for now is the defection and swerving       4 legend, or its song. All silent now, for now       5 parted now for now       6   as we have, now for now it is about half-a-foot deep, and still goes on increasing       7 by shedding his own come now, for       8 now; for now and then by exhausted energies, the waking the future       9   whose name I now for : now [   ] the get — a major somebody ?       10 to come now, for now       11 No better time then now, for now th’art in good clothes       12   Now — For now NOT NOW Now — For now against himself / Now — For now I see       13 your appearance just now, for “Now that I have seen you I shall leave at once”       14 a lease as we are sure of now, for now It was I we are sure of a seven years       15   hours now. For now we are separated, not by is coming, and now       16 dismist : “now” for “Now”       17 now for now i. (There are) now 6 bordars. It is 1000. (There are) 12 acres of meadow, [   ] then and afterwards      18   that laugh now! for now! for       19 I feel very well just now ( “for now” and “I feel” came next, but are crossed out)       20 one feels that it is now; for now as       21  

sources

1 ex “The Bloody Brother, or, Rollo. A Tragedy” Act 3, Scene 2, in The Works of Francis Beaumont and John Fletcher vol 3 (London, 1711) : 1599 2 ex Arabian Nights Entertainments ... Translated Into French ... by M. Galland ... and Now Done Into English. The Fourth Edition, Volume 6. (W. Taylor, 1724) : 30 3 ex OCR cross-column misread (and inscrutable doubling of “for now”) at A Collection of Voyages and Travels, Some now first printed from Original Manuscripts, others Now first published in English. In six volumes. To which is prefixed An introductory discourse (supposed to be written by the celebrated Mr. Locke) intitled, the whole History of Navigation from its Original to this time. Third edition, vol. 1 (London, 1744) : xxxiv BL copy, recent scan (March 11, 2020) 4 ex Sermon on the Epistle for the twenty-third Sunday after Trinity, in The Sermons of the Right Reverend Father in God, and Constant Martyr of Jesus Christ, Hugh Latimer... to which is prefixed A Memoir of the Bishop; by John Watkins. Vol 2 (of 2; London, 1824) : 183 5 ex Introduction to Canto Second, of “Marmion,” in The Works of Walter Scott, Esq., vol. 84 (Pocket Library of English Classics, No. 118; Zwickau, 1825) : 48 6 OCR cross-column misread, at E(dward). Bulwer Lytton, Night and Morning : A Novel (bound with Zanoni; Lucretia, or, The Children of Night; and Godolphin; New York, 1850) : 40 7 OCR cross-column misread involving “Surgery of the War” and “The War,” from our special correspondent, Heights above Sebatopol, January 4th, 1855; preview only at The Lancet (Saturday, January 27, 1855) : 111 in full at hathitrust 8 snippet view only (OCR cross-column misread) at Sharpe’s London Magazine of Entertainment and Instruction, vol 27 (1865) : 284 9 OCR cross-column misread, involving scenes 3 (The Piazza of Covent-Garden) and 4 (Horner’s Lodging. A table, banquet, and bottles.) of Wycherly, “The Country Wife, A comedy” (1675), in The Dramatic Works of Wycherley, Congreve, Vanbrugh, and Farquhar. With biographical and critical notices. By Leigh Hunt. A new edition. (London, 1866) : 97 10 OCR cross-column misread, as Messrs Kerr and Broomhall joust on the cost of stationery purchased by the Clerk of the House, in The Congressional Globe : The Debates and Proceedings of the Second Session Fourtieth Congress... and a supplement, embracing the proceedings in the trial of Andrew Johnson. Part 5 (Washington; July 24, 1868) : 4427 11 ex For the Young. Letters from Children. “Copies of children’s letters to the chaplain” (C. L. D. School), in The Christian vol 3 (London; October 31, 1872) : 574 12 ex “May-Day” (Act I), in George Chapman (1559-1634 *), Comedies and Tragedies, Now First Collected with illustrative notes and a memoir of the author in three volumes. vol 2 (of 3; London, 1873) : 334 13 ex preview snippet, to Mrs Horace Howard Furness, A Concordance to Shakespeare’s Poems : An Index to Every Word therein contained. (Second edition, 1874) here combining that snippet, with its referred-to passage at page 207 there was Horace Howard Furness (1833-1912 *), collector and scholar of Shakespeare, compiler of the “New” or “Furness” Variorum editions of Shakespeare; and there was Helen Kate (Rogers) Furness (1837-1883), whose inherited fortune made that collection (and much else) possible, see James M. Gibson, “Horace Howard Furness: Book Collector and Library Builder” at this UPenn Library page. Mrs Furness died of what was diagnosed as “acute neuralgia.” Her concordance extended the earlier work of Mary Cowden-Clarke (1809-98 *) her Complete Concordance to Shakspere : Being a Verbal Index to All the Passages in the Dramatic Works of the Poet (London, 1845) 14 at The Leisure Hour : An Illustrated Magazine for Home Reading (September 1, 1877) : snippet view but Chapter 10, “A Doubtful Friend,” of His Only Enemy, by Mrs. Arnold (author of “Better than Gold”) at hathitrust more — Mrs. Arnold was a pseudonym for Sarah Ann Jeffreys (1836-88), whose remarkable story is sketched at the Victorian Research Web (Troy J. Bassett, At the Circulating Library: A Database of Victorian Fiction, 1837-1901. (accessed 16 March 2021) see wikipedia for a description of The Leisure Hour. 15 ex Proceedings of the Common Council, City of Boston (July 1, 1886; Boston, 1887) : 749 16 OCR cross-column misread, and misread “hours” for what is “hour,” ex “The works of St. Augustin” (On the Gospel of St. John, Tractate 18), in Philip Schaff, ed., A Select Library of the Nicene and Post-Nicene Fathers of the Christian Church, vol. 7 (1888; New York, 1908) : 130 17 ex OCR cross-column confusion involving “Now let Thy servant die in peace” and “Now, Lord, we part in Thy great [blest] Name” in John Julian, A Dictionary of Hymnology : Setting Forth the Origin and History of Christian Hymns of all ages and nations... together with biographical and critical notices of their authors and translators... (1892) : 818 among the contributors is Susanna (erroneously given as Susannah) Winkworth (1820-1884), English translator (of German theologian Niebuhr and others) and philanthropist, elder sister of translator Catherine Winkworth. see wikipedia 18 snippet preview only, in section “The Holders of Lands,” in The Victoria History of the Counties of England : Essex (1903) : 559 19 ex OCR cross-column misread/jump from The American Standard Bible (left column) to The Authorized Version (right) at “International Bible Lessons, uniform series.” Second Quarter. Lesson V. May 5 Poverty and Riches — Luke 6. 20-26; 16. 19-31, at The Church School Journal and Bible Student’s Magazine 44:5 (Cincinnati, May 1912) : 361 20 ex Hughlings Jackson, “On Affections of Speech from Disease of the Brain.” from Brain (1880), reprinted in “Hughlings Jackson on Aphasia and Kindred Affections of Speech,” in Brain : A Journal of Neurology 38 (July 1915) : 147-174 (166) John Hughlings Jackson (1835-1911) was a renowned specialist in epilepsy (wikipedia) 21 ex snippet view (only, at google) to YMCA, International Committee, For the Millions of Men Now Under Arms Number 5 (1915) : 48 (at archive.org)

—

on (not quite) recollecting a dream  

[goblins-riddles-or-frocks]

I was tagged by @morethanprinceofcats to post 10 books I’d like to read this year!

1. The Traitor Baru Cormorant by Seth Dickinson

2. Gideon the Ninth by Tamsyn Muir

3. Ninth House by Leigh Bardugo

4. the Ingenious by Darius Hinks

5. Imagining the Sacred Past: Hagiography and Power in Early Normandy by Samantha Kahn Herrick

6. Anglo Norman Studies XXXIV Proceedings of the Battle Edited by David Bates

7. Religions of Rome Vol I — A history by Mary Beard, John North, and Simon Price

8. The Priory of the Orange Tree by Samantha Shannon

9. Pretty Monsters by Kelly Link

10. Jagannath by Karin Tidbeck

Tagging: @hellalugosi @varda-queen-of-stars @feminist-mina-harker @tinkdontwearpink @and-i-write-sins @indicativeof-sideways-escalation

[gnatswatting]

• Your political philosophy must be selfish and pragmatic. You must start with the premise that you have no permanent friends, no permanent enemies, just permanent interests. Learn the rules of the game and learn them well. —Bill Clay  (AKA: William Lacy Clay, Sr.)

EBONY Nov 1978 Vol. XXXIV  No. 1  

[brightbeautifulthings]

April

J | F | M |

New We Are Okay by Nina LaCour (4/5) The Blood of Olympus by Rick Riordan (4/5) As You Wish by Chelsea Sedoti (4/5) Unraveling by Karen Lord (3/5) In the Shadow of Spindrift House by Mira Grant (3/5) Every Day by David Levithan (3/5) Spooksville: The Haunted Cave by Christopher Pike (3/5) Future Quest, Vol. 1 by Jeff Parker (3/5) In The Afterlight by Alexandra Bracken (3/5) The Princess & Curdie by George MacDonald (3/5) PERfunctory AfFECTION by Kim Harrison (2/5)

The Count of Monte Cristo by Alexandre Dumas: Ch. XXXIV - XLV

Rereads Into the Land of the Unicorns by Bruce Coville (4/5)

[verobatto]

Destiel Chronicles

Vol. XXXIX

It was a love story from the very beginning.

Forbidden Love

(8x22 2nd part; 8x23)

Hello My Friends This is the last meta from season 8.

Here I will talk mostly about how Angels see Castiel and Dean's relationship, and how Castiel is showing us a lot of foreshadows of Human!Cas plot and his aknowledged about his true feelings for Dean. Just like Dean in Purgatory, who saw he was in love with Castiel, the same will happen to CAS when he becomes human in season 9.

I want to say thank you to my friend @agusvedder she made the gifs for this meta. Thank you girl!

Now, let's start...

Trying to fix things with Dean

After watching the video in episode 8x22, Castiel wanted to go with Dean and Sam, but Dean was still mad at him, even if he had given him those pop corns... 🤣 Yes... It wouldn't be that easy...

Dean was mad at him but even so, he cares about Cas the... "And get better" avoiding Castiel's puppy's eyes is the proof that Dean can't be mad at him for too long.

But after this... We had Cas shopping in the Gas'n Sip. And the list is weird, but not that much...

It was a funny scene, and everything he was buying was related to Dean and Humanity. He wanted to fix things with him. It was funny right? But it was a foreshadow for Human!Cas as well.

Let's check the list: dried meat (bc he saw Dean was giving that for eat to his brother) so... Maybe is something humans eat... Or Dean. Asian Women and boobs, okay, yeah, Dean likes it... Boobs... There's a foreshadow there when he will be on Street like a human, overwhelmed, and he will see a woman showing her neckline, remember? Then... Beer, Dean loves beers... Some toilet paper yeah, humans and digestive process. (Poor baby, he will be tired of pee...)eggs... Fragile and it breaks easily. (Symbolism everywhere, my friends). And finally, where's the pie??

He gets very pissed off when he can't get Dean's favorite thing of all, the PIE! Without Pie, there's not reconciliation!!! (They are so married, I swear...)

Falling for a forbidden love

Between episode 22 and 23 (Sacrifice) we had this spell Metatron was trying to achieve.

And the ingredients were a symbolic representation of Dean and Cas "forbidden" relationship, an ANGEL can't fall in love with a HUMAN. An angel can't have that kind of intimate relationship with God's creation.

That's what Metatron's spell meant. An angel in love with a human is an abomination, is unforgivable, is a sinful and forbidden path.

Let's just take a look to the ingredients here...

1) A heart of a Nephilim

Look at this... Castiel is talking about the Nephilim as the OFFSPRING OF AN ANGEL AND A HUMAN (is the representation of an angel and a human involve into a romance) and then he added... I THOUGHT IT WASN'T ALLOWED . Is like if he was saying... Being in love with a human is allowed? I thought it wasn't. Because the mere existence of that Nephilim is the proof of a romance between and angel and a human existed. And then Metatron replied: IT'S NOT. Is not allowed, is forbidden, is sinful, is wrong.

And Metatron is showing Cas how angels see Dean and Cas relationship...

And why his heart? Why the Nephilim's heart? Because the Nephilim, like a representative ROMANCE, JUNCTION, BETWEEN AN ANGEL AND A HUMAN, that's the heart, the heart represents both of them, the angel and the human joined in one heart.

2) Cupid's bow

In episode 8x22, we kept seeing the ingredients to "close Heaven", but after that, Metatron and Cas talked about God.

CASTIEL: What was he like?

METATRON: Who? Oh. God? Mm, pretty much like you'd expect. [ Sighs ] Larger-than-life, gruff, bit of a sexist.

This last characteristic isn't good at all, and immediately after that... Metatron charged against the Nephilim (human/angel junction) again ..

And how was it very very symbolic, why the Cupid's bow??? Why? Okay, is a live spell? No, wait, is a spell to make angel fall... Ooohhh more symbolism?? Like Castiel? Who fell for Dean! (Carver, I love you).

When all the finding love chat started, Cas was kind of... Flustered... Why talking about "finding love" makes him feel uncomfortable? Even with his lack of knowledge about LOVE, something in that issue makes him feel kind of suspicious about him and Dean...

Okay, the arrow that engages two people, and immediately fell in love with each other. The destiny... Right? But, if we are strictly correct with Destiel, Accord to my theory, it wasn't supposed to happen, so... They didn't needed the Cupid's bow or the arrow... So... That's why they took it from Cupid. Something that wasn't written, they defied destiny, against Heaven's will.

And not just that, but, this Cupid reunited two men that were good friends. So... They went from friends... To lovers... And that's a beautiful mirror of CAS and Dean.

3) Castiel's grace

And the last ingredient to make angel fall fr grace... Is Castiel's grace, an angel in love with a human. The most abominable way to fall from Heaven. Each one of these Ingredients have a romantic allusion.

So... How do you make an angel to fall from grace?

1) A profound romantic bond with a human (forbidden)

2) Defy destiny and fall in love with that human.

3) Give up your grace for love (maybe a foreshadow for some Human!Cas in season 9... Or maybe this last season .. even if I don't like this not even a little bit, bc I want Cas to be an angel for ever, but... )

Oh, and, all of this was a ironic joke from Metatron, ofc, as we will see in the next season.

Dean and gay panic

We have Dean and Cas in that bar, waiting for Cupid's apparition. The two men in that bar wet watching archery at the tv... Everything was about bows and arrows... We knew Cupid was about to come so... The subtext in this bar was romantic.

Two friends, that fell in love with each other.

And the dialogue between Dean and Cas was full of melancholy and concern...

DEAN: Anything? You've been gone long enough.

CASTIEL: No. There was one female, but...

DEAN What?

CASTIEL ...I don't think she was female. Anything here?

Okay, they're waiting for a female to the bar's owner, because is what they thought... This man on the bar..m will fall for a woman today..m but that was wrong...

And then, Dean is worried about Cas, he wants him to talk bout it, and Cas talks... Briefly...

Dean is seeing that maybe this could be the last time he will see Cas, and he uses the ET reference, even knowing Cas won't pick up the joke.

Castiel's face here is priceless, he looks at Dean and made a grimace as if he was saying "Yes, my friend... This is the goodbye..." *Sobbing*

Then... Cupid entered in action... But the thing was... She reunited TWO MANLY MEN WATCHING ARCHERY ON THE TV, and that was... Unexpected... Mostly for Dean. Watch his gay panic raising right there...

Yes Dean, two manly men can fall in love with each other...

To Conclude:

Castiel buying human's stuff was cute bc he wanted to fix things with Dean but also, it was a foreshadow for his painful human life in season 9.

The ingredients for Metatron's spell was a romantic coded for Destiel, and how angels see Cas and Dean relationship as an abomination.

Two manly men falling in love with each other was a huge example of how love can be unexpected, and how Dean panicked right there 🤣🤣

I hope you liked this last Chronicles from season 8, see you in the next one!

Tagging @metafest @magnificent-winged-beast @emblue-sparks @weirddorkylittlediana @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @angelneedshunter @trickster-archangel @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @mishka-the-angel-of-saturday @dickpuncher365 @vampyrosa @foxyroxe-art @authorsararayne @anonymoustitans @mybonsai1976 @love-neve-dies @wildligia @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-is--endgame @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @tenshilover20 @teddybeardoctor @pepevons @helevetica

If you want to be tagged just let me know.

If you want to read the previous metas from s8, here are the links...

Vol. XXXI, XXXII, XXXIII, XXXIV, XXXV, XXXVI, XXXVII, XXXVIII.

Buenos Aires November 27th 2019 7:51 PM

[katalinastudio]

Diane Arbus in the Noir Post-War Era in New York

Diane Arbus is considered by many as one of the most important photographers of the 20th Century. Her work emerged during the post-WWII era, when artists like Robert Frank, William Klein, and Weegee were interested in capturing a darkened view of Western society. The work of this group, and especially the images captured by Arbus, influenced the history of photography and brought new visual approaches to the field of street photography. Arbus’ career as a street photographer lasted only ten years, and it started during the late 50’s when she began visiting seedy hotels, public parks, and a morgue, among other venues to take portraits of characters that were often unseen or marginalized. Most of her photographs were misunderstood during her time and considered by many as disturbing, mostly because these images diverge from the common canons of morality and “normality” in the late 1950’s. For instance, she became acquainted with many transvestites and people from the circus, who were often discriminated against during that time. Arbus captured in her portraits many subjects whose lives weren’t previously looked at so fearlessly. She often spent long hours and even days with many of her subjects. Some of those images became a valuable anthropological record of New York City during the 1950s and 1960s.

Arbus was originally from New York City and found most of her subjects initially in the city, and later in Maryland, New Jersey, and Pennsylvania.  After collaborating with her husband, Allan Arbus, on fashion and their family business, Arbus began taking photographs on her own. She photographed people in the metropolis, at carnivals, at drag-balls, in hotels, and in many other places that she discovered. In her street photography in New York, Arbus explored “known geography and foreign land,” while creating new narratives about the lives of characters that were not acknowledged by other photographers of her time (Lubow 64).  In the words of the photographer: “I believe there are things which nobody would see unless I photograph them” (Armstrong, 37). Arbus’ work displays an array of portraits of couples, nudists, people on the streets, twins, families of various kinds, and carnival performers such as tattooed men and sword-swallowers, among other subjects.

Her photographs not only register an historical time and art phenomena during the post-war era in New York City, but also render a form of contemporary anthropology, where time and history are precisely documented within a squared picture frame. As Susan Sontag describes photography: “To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge.” In doing so, many artists during that time created imprints of their lives in the city during the post-war era.

  Arbus and some of her contemporaries, like Weegee and Edward Hopper, captured in their work the transformation of the city through photography and painting. After the 1930s and 1940s, “New York shaded at the edges into a noir town of irony and delusion” (Chapman, 267). Many American artists adopted a darker look into their subjects to express their preoccupation with existential aspects of the human condition. Their focus shifted from glamorous buildings and the skyline into people on the streets, and through this act of looking closer, the private and public spheres started to blend in the process of image making. For example, Weegee, who worked as a freelance news photographer in Manhattan during the 40s became well-known for some of the most sensationalist pictures during those years. In his work, the camera becomes almost pervasive by capturing a crime scene or a murder from the previous night. Some critics believe that Weegee’s work had an influence on Arbus. Nevertheless, she was not interested in the aftermath of a tragic event or a crime but in capturing the obscure nature of things while they were alive and present in everyday life events. In that sense, her images are more inquisitive and psychological

  Arbus’ photographs transport the viewer to a solitary space such as many paintings by Hopper, who often portrays characters in urban settings that evoke loneliness and estrangement. In the case of Arbus, her subjects are framed often in the middle of the composition looking at the camera. This self-reflexive effect creates a dialogue between the photographer and the subject, between what has been said and what remains silent, while encompassing a kind of ethereal mirror effect. Arbus chose to work with a camera that had a square format, where the background cannot predominate as it does in horizontal formats. Also, by using this camera, Arbus could maintain eye contact with her subjects: “She would look down to frame the image and look back at the subject” (Dorfman 7). This powerful ritual is a constant in most of Arbus’ works and articulates a space to explore and reinvent different forms of identity and history. It is also an opportunity to look deeper at things that were not acknowledged previously.

   WORKS CITED

  Bosworth Patricia. Diane Arbus. Norton & Company, Inc. New York 1984. Print

  Chapman Sharpe. New York Nocturne: The city after dark in literature, painting, and photography,    1850-1950. Princeton University Press. 2008. Print                                                                                                                                 Dorfman, Elsa. “Where anonymous was a woman.” The Women’s Review of Books, Vol 13, No4,  ( January 1996). pp 17

  Goldman, Judith. “Diane Arbus: The Gap between Intention and Effect.” Art Journal, XXXIV /1. Vol 34, N 1 ( Autumn, 19740), pp 30-35

  Lubow, Arthur. “Diane Arbus Revelations of Life.” USA today, January 20004. pp 64-71

  Sontang, Susan. On Photography. New York : Farrar, Straus and Giroux, 1977. Print.

[party-slug]

now thats what i call esoteric vol. XXXIV

[bob-belcher]

Stephen Colbert's Midnight Confessions, Vol. XXXIV