Gdrive Link Where You Can Find Free Books Regarding Palestine, Liberation And Orientalism To Download

Commission for Johnicholas Hines! Based on this drawing

What is your favorite obscure Greek mythological fact

Hm, probably the Orphic fragment that says that Persephone was born with a monstrous appearance (fragment 87 according to Athanassakis, fragment 58 in the translation of Otto Kern’s compilation of fragments at HellenicGods.org):

…"of the daughter of Zeus, whom he begat of his mother Rhea; or of Demeter, as having two eyes in the natural order, and two in her forehead, and the face of an animal on the back part of her neck, and as having also horns, so that Rhea, frightened at her monster of a child, fled from her, and did not give her the breast (θηλη), whence mystically she is called Athêlâ, but commonly Phersephoné and Koré"…

It's so totally different from all other versions that only describe her as very beautiful (as goddesses tend to be). Sometimes I regret that I didn't give my Persephone horns.

decolonial art history starter guide

really tired of seeing AH on the internet/tumblr talked about w the same extreme reverence for the classics that has dominated the field since its conception and has led to the proliferation of white supremacist ideals in this course of study i love very much so decided to channel that by collecting some of my favorite readings on decolonizing art history, with a particular focus on the ancient/classical world. note: this is by no means an extensive list, but rather a selection of pieces i found helpful when starting to explore decolonial art history - with this list i'm focusing more on broad issues than highly specific case studies

reflections on the painting and sculptures of the greeks. jj winckelmann: giving this one a preface as it is quite literally the least decolonial art historical text you can find but also the one that kicked off classical art history studies as we know it (winckelmann is largely seen as the father of art history). as such it is worth a read to understand what these arguments are based around - in more recent years this text has been used extensively to support the white supremacist idea that aryan art came from the great green past and that anything not pertaining to the greeks was ‘degenerate’

decolonization is not a metaphor. tuck and yang.

empty the museum, decolonize the curriculum, open theory. nicholas mirzeoff.

decolonizing art history. grant and price.

decolonization: we aren't going to save you. puawai cairns.

why we need to start seeing the classical world in color. sarah bond.

beyond classical art. caroline vout.

classics and the alt-right: historicizing visual rhetorics of white supremacy. heidi morse.

decolonizing greek archaeology: indigenous archaeologies, modernist archaeology and the post-colonial critique. yannis hamilakis.

how academics, egyptologists, and even melania trump benefit from colonialist cosplay. blouin, hanna, and bond. (i'd like to flag this one in particular with a nod to tumblr's obsession with maintaining a certain aesthetic linked to what you study).

Fyodor Dostoevsky ― Crime and Punishment

Persephone and the Springtime was written by Margaret Hodges with illustrations by Arvis Stewart.

Part 2

“Dionysus is powerful because he is a god; but in myth, at least, the god conceals his divinity in order to impress his presence all the more forcefully on mortals. In his mythical epiphanies, he exercises his destructive power from a position of apparent weakness and inferiority… the punishment he inflicts is often indirect, deceptive and designed to hide his presence and downplay his power; unlike Apollo or Artemis, he does not kill his victims through direct divine intervention, but relies on those self-destructive drives within their human nature that case madness, self-mutilation or transformation.”

— Albert Henrichs, “He Has a God in Him”: Human and Divine in the Modern Perception of Dionysus

american sterling silver and enamel eros and psyche relief vesta case, c. 19oo

Image ID: An excepert, cut into two screenshots, from "The Archaeology of Caves in Ireland", by Marion Dowd, that reads:

DISAPPEARING UNDERGROUND

The idea that some ritual activities at caves involved people disappearing from view into darkness is powerful. In most cases only one individual or a small se- lect group could have entered caves at any one time. Thus the potentially public nature of early stages of some rituals, such as the entire community walking to a cave entrance, may have been juxtaposed by the secret activities that took place inside the cave involving just a few people. Witnessing this disappearance into darkness, and waiting for individuals to re-emerge, is likely to have been dramatic. The length of time spent inside a cave may have increased the feelings of anticipation, expectancy, anxiety, trepidation, fear or mystery experienced by those outside. People above ground were in the dark too. What was happening down there in the darkness? Who or what would be met in the cave? Why was the trip taking so long? Would s/he return? What would be the outcome?

These were religious and spiritual excursions into darkness that must have transformed those waiting outside but especially the person who had entered the cave. Such journeys may have conferred her/him with greater power, status, reverence or respect if caves were perceived as places of the Otherworld where it was possible to commune with the spirit world. Emerging from darkness and returning to the world of the living may have been seen as akin to a rebirth: emerging with new knowledge or insights, emerging as a new and transformed person.

/End ID

Domestic by Catherine Opie - lesbian couples in their home environment across the United States

As with most female horror fans, people love to ask me what it is I get out of horror. I give them the stock answers: catharsis, empowerment, escapism and so on. Less easy to explain is the fact that I gravitate toward films that devastate and unravel me completely – a good horror film will more often make me cry than make me shudder.

Kier-La Janisse, House of Psychotic Women