ro0hafz4
103 posts
Latest Posts by ro0hafz4
In other words, Cassandra is not just a translator, she is also an embodiment of the very function of translation: her prophetic speech often appears to be suspended between languages, like Benjamin's translator who operates in the realm of 'pure language' that is beyond any single linguistic code. Cassandra takes and reformulates and incomprehensible message from the future and becomes incomprehensible in the process, (re)producing a message in such a way that it demands a second, or third or fourth translation. Sometimes she descends from a trance-like state of prophecy to initiate the next link in the chain of interpretations herself, reframing her own message in more prosaic language, only to find that this speech too is received with confusion. Her utterance is always both a target and source text at the same time. The proliferation of translation acts within her single body evokes a kind of never-ending self-translation; like the self-translator, Cassandra suffers a splitting of the self, one part of which is committed to the spirit of the original composition, while the other struggles to reframe it for a new audience that can never grasp the meaning of the original.
Emily Pillinger, Cassandra and the Poetics of Prophecy in Greek and Latin Literature
“It’s not ‘natural’ to speak well, eloquently, in an interesting articulate way. People living in groups, families, communes say little–have few verbal means. Eloquence–thinking in words–is a byproduct of solitude, deracination, a heightened painful individuality.”
— Susan Sontag, As Consciousness Is Harnessed to Flesh (via the-book-diaries)
A pair of gold bracelets... snacelets. Roman, 1st century AD
from The Walters Art Museum
This is Amal and her family. My children are living under bombardment in the war 😭 Please consider them your children and help them 🙏🙏 Stand by my side to save and protect my children. They haven't gone to school for a year 🙏😢😢 Donate to save my children's lives 🍉 🙏🇵🇸 We live in very difficult and desperate circumstances, and what is worst of all is that the fear that haunts me increases day by day. Help me provide them with basic life needs. @gazavetters is verified, my verified number in the list is (#55)
Please help Amal and her family get food, water and shelter!!
Their campaign has been vetted here at #55 by @gazavetters, $7,760/$30,000 (26%) has been raised (as of 20/11/2024). Please donate if you can and share as much as possible to get Amal and her family to safety!!
american sterling silver and enamel eros and psyche relief vesta case, c. 19oo
Domestic by Catherine Opie - lesbian couples in their home environment across the United States
The Minotaur in the Labyrinth
The Minotaur in the Labyrinth stands as one of the ancient stories that has survived the test of time and continuously appears in mainstream entertainment. Most understand that this concept began with the story of Theseus of ancient Athens and how he navigated the labyrinth and slayed the beast within, but many don’t know the inspiration of this idea.
Nearly a millennia before Classical Greece rose to the height of its power (500-350 BCE) the two leading cultures of the Aegean Sea were the Mycenaeans on the mainland and the Minoans on modern day Crete, and it is on this island that we find the labyrinthian structures of Bronze age Greece.
The Bronze Age Palace at Knossos: Plan and Sections by British archaeologist Sinclair Hood and Canadian archaeologist William E, Taylor, Jr., was published as Supplementary Volume No. 13 of The British School at Athens in 1981. It shows the archaeological remains of one of the many Minoan Palaces. Though mostly destroyed and crumbling, we can still see the complex layout of halls and rooms that twist, turn, and abruptly end. Beginning with the excavations of Sir Arthur Evans in 1900, scores of theories have been raised about the purpose of such confounding architecture, from a form of defense to a means of controlling foreign visits.
Besides the confusing architecture, though no depictions of minotaurs were found, Minoan Palaces such as the one at Knossos did contained several pieces of art that depicted bulls. Upon further inspection, the symbol of the Bull was quite prominent throughout the ancient culture from sports, such as bull leaping, to religious sacrifice.
When looking to those who lived in the past, one should remember that we are not the only ones who inquired about archaeological remains. These ruins would’ve been seen by the Classical Greeks, but by that time their imaginations about the great Palaces and Bull iconography of the Minoan civilization was transformed into the myth of the Minotaur in the Labyrinth.
View more posts on Ancient Greece.
– LauraJean, Special Collections Undergraduate Classics Intern
“Shadowy Death dogs my steps, my seated shape, and has for years— / Draws sometimes close to me, as face to face.”
— Walt Whitman, from “L. of. G’s Purport”, Leaves of Grass
“Take my heart and hurl its fragments to the moon, the trees, the beasts, in the air, the dark, the waters, so that nothing returns to me ever again.”
— Anna de Noailles, tr. by Jean Morris, from Poems; “Ariadne’s Lament,”
sorry i didn't respond i had a katabasis
Also forever grumbling about the fact that people want to divorce the myth but more specifically the Homeric Hymn to Demeter from its cultic purposes; Eleusis and the Eleusinian Mysteries play a major role in the story and this has a huge effect on the storytelling, and if we divorce all of the themes it imposes on Persephone/Demeter’s storylines from their myth in this adaptation, you lose a significant amount of context and meaning
In contemporary (post-modern) horror, the threat is “not simply among us, but rather part of us, caused by us.” Institutions (like the church and the military) that were once successful in containing the monster and restoring order are at best ineffectual (there is often a lack of closure) and at worst responsible for the monstrous. Contemporary horror also tends to collapse the categories of normal bodies and monstrous bodies; it is said to dispense with the binary opposition of us and them, and to resist the portrayal of the monster as a completely alien Other, characteristic of such 1950s films as The Thing (from Another World) (1951), Them! (1954), and The Blob (1958). This tendency to give the monster a familiar face (the monster is not simply among us, but possibly is us) is tied, in postmodern horror, to the focus on the body as site of the monstrous.
–Lianne McLarty, “Beyond the Veil of the Flesh”: Cronenberg and the Disembodiment of Horror, from The Dread of Difference: Gender and the Horror Film
love how kids are always so uncontrollably ravenous for horror. they beg you to tell them spooky stories even when they know it will give them nightmares. every school has gruesome rumours about the kid who fell off their chair or tripped onto a cloakroom peg. we used to stand in the playground of my primary school staring up at the castle looming across from us and swear we could see a ghostly figure wave before plummeting endlessly to the water below…. all of this passion and yet most kid’s horror media is complete shit. what a waste.
the story of psyche
Denis Maurice, The Story of Psyche, 1908, The Hermitage, St. Petersburg: 1) Eros is Struck by Psyche’s Beauty; 2) Zephyr Transporting Psyche to the Isle of Delight; 3) Psyche Discovers that Her Mysterious Lover is Eros; 4) The Vengeance of Venus; 5) Jupiter Bestows Immortality on Psyche; 6) Psyche’s Kin Bid Her Farewell on a Mountain Top; 7) Cupid Carrying Psyche Up to Heaven.
