#ein fragment

[rwpohl]

woyzeck ein fragment, eberhard witt 2000

phobia, john huston 1980

*

nicholas and alexandra, franklin j. schaffner 1971

[mercedes-lenz]

dieser post wurde euch gebracht von meiner koffeinabhängigkeit

[mercuriicultores]

~375-350 a.Ch.n., (Auctor incertus), Fragment eines attischen Grabreliefs

[dashalbrundezimmer]

gneisenaustraße // köln nippes

architect: paul georg hopmann

completion: 1974

this brutalist gem, which houses a kindergarten and a community centre, is located in the heart of cologne's nippes district. the striking façade design of pure concrete and red window and door frames, as well as the fragmented structure, make the building a real eye-catcher. the red colouring also extends to the railings, letterboxes and service openings, contributing to the coherent overall impression.

dieses brutalistische kleinod, welches einen kindergarten und ein gemeindezentrum beherbergt, befindet sich mitten in köln nippes. die bemerkenswerte fassadengestaltung von purem beton und roten fenster- und türrahmungen sowie die zergliederte struktur machen das bauwerk zu einem echten hingucker. die rote farbgestaltung erstreckt sich außerdem auf geländer, briefkästen und versorgungsöffnungen, so dass dies zum schlüssigen gesamteindruck beiträgt.

[finelythreadedsky]

JSTOR Wrapped: top ten JSTOR articles of 2023

Coo, Lyndsay. “A Tale of Two Sisters: Studies in Sophocles’ Tereus.” Transactions of the American Philological Association 143, no. 2 (2013): 349–84.

Finglass, P. J. “A New Fragment of Sophocles’ ‘Tereus.’” Zeitschrift Für Papyrologie Und Epigraphik 200 (2016): 61–85.

Foxhall, Lin. “Pandora Unbound: A Feminist Critique of Foucault’s History of Sexuality.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 167–82. Edinburgh University Press, 2003.

Garrison, Elise P. “Eurydice’s Final Exit to Suicide in the ‘Antigone.’” The Classical World 82, no. 6 (1989): 431–35.

Grethlein, Jonas. “Eine Anthropologie Des Essens: Der Essensstreit in Der ‘Ilias’ Und Die Erntemetapher in Il. 19, 221-224.” Hermes 133, no. 3 (2005): 257–79.

McClure, Laura. “Tokens of Identity: Gender and Recognition in Greek Tragedy.” Illinois Classical Studies 40, no. 2 (2015): 219–36.

Purves, Alex C.  “Wind and Time in Homeric Epic.” Transactions of the American Philological Association 140, no. 2 (2010): 323–50.

Richlin, Amy. “Gender and Rhetoric: Producing Manhood in the Schools.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 202–20. Edinburgh University Press, 2003.

Rood, Naomi. “Four Silences in Sophocles’ ‘Trachiniae.’” Arethusa 43, no. 3 (2010): 345–64.

Zeitlin, Froma I. “The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia.” Arethusa 11, no. 1/2 (1978): 149–84.

[yamayuandadu]

Is Humbaba's appearance ever described in detail in any written sources? When looking online, I keep seeing artists depicting him in very specific ways (head covered in entrails, scaly skin, snake phallus...), but I'm having trouble finding the sources for those same specific details

This is something I've spent quite a lot of time investigating myself last year when I was working on his wiki article. The short answer is that not really, but we can piece something together from the available scraps - and it’s not really similar to the modern standard you're describing. You are definitely looking in the right places for Humbaba information if you found no trace of these traits - only one of them goes back directly to an actual source, and even then it’s less firm than it might seem at first glance. More under the cut. 

The textual sources are actually very lax when it comes to describing Humbaba’s appearance, What is emphasized are his supernatural powers and authority granted by the gods - Wer (they set this guy up like he’s the next arc villain in a shonen in the Old Babylonian version’s Sippar fragments) and Enlil or Enlil alone. There’s a decent chance he was viewed as largely human-like. Andrew R. George ( The Babylonian Gilgamesh epic: introduction, critical edition and cuneiform texts, p. 144) describes him as “essentially anthropomorphic” though speculates he might have been imagined as tree-like. Multiple considerations regarding Humbaba’s iconography can be found in the articles from Gilgamesch: Ikonographie eines Helden, especially in Lambert’s and Collon’s. Collon essentially just concludes that Humbaba was simply depicted as an unusually tall and/or broad but still largely human-like figure, Lambert notes similarities to the lahmu (so we’re still within the realm of burly hairy men, essentially). Piotr Michalowski (A Man Called Enmebaragesi, p. 205-206) argues that at least in the standalone narratives Humbaba was essentially a parody of various peripheral “barbarian” rulers. It is perhaps worth pointing out that while the etymology of Humbaba’s name is up for debate, it is clear that it was originally an ordinary personal name, and individuals bearing it appear in administrative texts from the Ur III period before Humbaba the literary character arose.

While myths and the epic itself are lax, plenty of information about Humbaba’s appearance can be found in other genres of texts. This evidence has been collected by George (same monograph as above, p. 146-147). His face was regarded as outlandish, with a bulbous nose and big eyes. There are references to diviners spotting Humbaba’s face while analyzing animal entrails. An artistic representation of this phenomenon is seemingly known from one exemplar, and is the source of “entrails-faced” Humbabas in modern work.

A unique sculpture from Neo-Babylonian Sippar seen above (you can view it from more sides here) is inscribed with a short formula starting with “If the coils of the colon resemble the head of Huwawa”, and has accordingly been described as the visual representation of this statement since the 1920s. Identification as Humbaba has been affirmed for example by Anthony Green in his 1997 article Myths in Mesopotamian Art (p. 137-138 + 150 for a confirmation of the museum number; published in Sumerian Gods and their Representations; you can find it online,it’s worth checking out since it also includes timeless classics like Wiggermann’s Transtigridian Snake Gods and Westenholz’s Nanaya, Lady of Mystery). I’m not actually aware of any parallels, but it’s a cool, striking visual and I personally don’t find its modern fame undeserved.

However, it needs to be stressed that it’s not standard. Humbaba’s face is also quite common in visual arts. In fact, it’s so common that Frans Wiggermann (Mesopotamian Protective Spirits: the ritual texts, p. 150) argues that the face came first, with the name perhaps representing a unique sound made by the creature while grinning or laughing (what is this, One Piece?) and only developed into a literary character later. These images served an apotropaic purpose guarding doors (examples have been discovered in situ), appear chiefly in Old Babylonian times, and show remarkably consistent traits, here are some I’ve assembled for the wiki article last year:

Scaly skin doesn’t show up anywhere as a trait of Humbaba’s, as far as I am aware. That’s Tishpak’s thing. However, it is perhaps worth noting that a type of lizard, ḫuwawītum, was named after Humbaba (George, p. 145). This was discussed briefly by Claus Wilcke a long time ago in Humbaba’s entry in the Reallexikon (p. 535); he pointed out the animal was compared to a gecko or what he identified as some variety of agamid. Not sure if anyone ever tried identifying it more precisely with any species of reptile which can be found in Iraq or Syria. Given Humbaba’s apparently outlandish looking eyes my first thought was a chameleon, honestly, but don’t quote me on that, plus note that it seems chameleons were called bargunna (or bargungunna).

As for the other reptilian matter, snake phallus is a part of Pazuzu's iconography (see his Reallexikon entry by Wiggermann, p. 377), not Humbaba's. As far as I can tell, the Humbaba plaque above is naked and shows no such characteristics. Many other possible depictions of Humbaba show him in some sort of kilt with no phallus of any sort in sight (see the numerous seals shown in Collon’s article mentioned above, for instance). I know the snake phallus claim was even on wikipedia at some point - long before my involvement - but it doesn’t come up in any publication about Humbaba I read from within the past 40 years.

[idkwhatimdoinghere1655]

Du Lernst Nie - Sebastian Vettel

<word count - 650>

"Y/N, look, it really isn't that hard. You just need to put a bit of effort in," Sebastian sighed, trying to get you to listen to the fragments of German he was teaching you. "But you can speak for me. I can do the basics. Hallo und danke. Glücklich?" you smirked. 

During the Summer break, you and Seb were taking a week long trip to Germany and were going to travel around Cologne and Munich, before going home to Switzerland. 

"See, you do know it," he rolled his eyes, frustrated at your stubbornness. "The locals will be happier if you try," he tried to persuade, the flash cards he made were discarded to the side as he was ready to freestyle. 

"OK, how would you order something at a cafe?" Seb prompted, looking at you intently. 

"What am I ordering?" 

"Two bread rolls and a cup of tea," he told you, wondering if you were actually listening to what he had said no more than five minutes ago. "Ich..." you started. Seb internally groaned - he had gotten nowhere. 

"Hä-" he started, your brain finally finding the word.

"Ich hätte gerne ein Tasse Tee und zwei Brötchen, bitte," you smugly asked him, leaning back in your chair and crossing your arms. "Sehr gut," he praised, smiling. It wasn't a matter of if you could do it, it was a matter of whether you would do it. 

"Entschuldigung, wo ist die Bibliotheke?" he asked, putting on a voice and pretending to be a frail old lady who couldn't find her way around. "Die Bibliothek ist in der Nähe, gar nicht so weit weg von hier," you said. 

Seb's eyes widened in surprise. "Links oder rechts?" he asked, snapping back into character for a moment. "Links," 

"Danke,"

"Kein Problem," you smiled at the 'old lady'. The only reason you had actually spoken to German with him was because you didn't feel like getting grilled by Professor Seb anymore. "I did not teach you that," he said, impressed.

"I have taken my German learning into my own hands, since you have told me how to order a coffee more times than I can count," 

Seb smirked. If you thought you were so clever, he'd test you a bit, "Ich würde sagen, bin ich beeindruckt, aber du bist ein furchtbar Studente wer zuhört nicht," he said, way quicker than he normally would. 

"Erm. Es tut mir leid, ich verstehe das nicht," you sheepishly said, already feeling a blush of embarrassment creep up onto your cheeks.  "Oh, es tut mir leid, ist das zu schwierig für Sie?" he said. You understood that, and you felt like he was almost mocking you.

"Ja, ein bisschen," you responded, hoping that because it was in German, he'd be bit nicer to you. "Ich denke, wir haben gelernt, dass ich besser bin als das, womit du gelernt hast."

Now he was just getting cocky. "Okay, I get it. You've proven your point. I will listen to Professor Seb," you rolled your eyes, annoyed to have to give into him.

"I like the sound of that," he smirked, winking at you suggestively. You wouldn't lie, you liked the sound of what he was implying as well, but now it was time to learn. "Shut up," you scoffed, trying to hide your smile.

"What I don't understand, is that every time I try to get you to learn, you get all full of yourself,"

"Yeah, because my German is good," 

"But not as good as you think it is. You never learn," he shook his head, watching as you zoned out and stopped listening to his telling off. "I prefer the sound of listening to Professor Seb," you pouted, and you could see his jaw twitch. 

"Let's see what Professor Seb has in store today, shall we?" he said, standing and swiping the papers off the table. "Auf dem Tisch," he commanded, and now, you were all for listening. 

A/N - This is just a little something for you guys while I finish writing part 3 to 'Baby Fever'! Also, that picture of Cologne Cathedral in the header is so pretty, and I am so happy to be able to say I've been there. Lmk if the German isn't 100%, I did it myself and my German is quite rocky <3

|masterlist|

[reversereaction]

rewrite the stars vs. Case 143

So, es ist soweit und ich brauche eure Hilfe. Es geht darum zu entscheiden, welche mmff ich dieses Jahr (hoffentlich im Februar) starten werde. Um eine Entscheidung treffen zu können, sind hier kurze Beschreibungen zu den Storys und die (unfertigen) Websites, damit ihr euch ein Bild machen könnt. 😌

Ein Unterschied wäre bei den Storys, dass es bei rewrite the stars 5 pairs gibt, während es bei Case 143 keine Pairwahl geben muss, aber Pairs natürlich gewählt werden können aus dem Maincast, Nebencharaktere und auch aus den eingesendeten OCs.

Wenn ihr sonst noch Fragen habt, stellt sie mir! <3

Rewrite the stars (soulbond restart)

It happens in a heartbeat, in a fragment of time and suddenly, your world gains colour. 

Eine einzige Berührung, und die Welt erblüht in all den warmen Farben, von denen du bis jetzt nur gehört hattest. Was einst aschgrau und nachtschwarz war, schimmert plötzlich im goldenen Sonnenlicht. Du atmest tief ein und hast das Gefühl, du schmeckst die Veränderung auf deiner Zunge, als wäre die Welt plötzlich süßer.

Deinen Seelenverwandten zu finden ist das schönste und beängstigendste Gefühl auf der Welt. Doch nur weil das Schicksal in den Sternen geschrieben steht, heißt es nicht, dass einem ein Happy End versprochen wurde. Denn was passiert, wenn man seinen Seelenverwandten zur falschen Zeit trifft?

Case 143: A perfect Chaos

Crimes, paperwork & the everyday chaos in the auror office 

Der letzte große Zaubererkrieg liegt Jahre zurück, und die Zaubererwelt hat sich allmählich wieder beruhigt. Doch das heißt nicht, dass das Aurorenbüro nichts mehr zu tun hätte. Denn auch im Jahr 2025 lassen Verbrechen, Überfälle und der Schwarzmarkt dem Aurorenbüro keine Ruhe. Neben erfahrenen Zauberern taucht nun auch die nächste Generation in den Arbeitsmarkt ein, und junge Auroren beginnen ihre Karriere – unter ihnen niemand Geringeres als James Sirius Potter.

Doch das Auroren-Dasein ist nicht nur Aufregung und Abenteuer, wie er es sich erträumt hat, sondern auch Bagatelldelikte, Papierkram und eigenwillige Kollegen. Trotzdem wird es nie langweilig, denn zwischen neuen Freundschaften, Gerüchten am Arbeitsplatz und dem eigenen Privatleben ist Chaos vorprogrammiert – erst recht, wenn dann auch noch Gefühle ins Spiel kommen.

[firstlightinthemorning]

DIESE NACHT, SIE LIEBE ICH. NEIN, NICHT DIESE NACHT

Diese Nacht, sie liebe ich. Nein, nicht diese Nacht,

diesen Nachtanfang, diese eine lange Anfangszeile

der Nacht, die ich nicht lesen werde, weil sie

kein Buch für Anfänger ist.

(Rainer Maria Rilke, aus: Fragment von den Einsamen)

Foto: by © Inge Uiterwijk

[mrsbutterbirne]

Weißt du was weh tut?

Sich selbst zwingen zu müssen, Gefühle für jemanden zu verlieren, den du eigentlich liebst.

Es ist, als würdest du versuchen deinem Herzen beizubringen aufhören zu schlagen oder deinen Lungen sagen, nicht mehr zu Atmen.

Das widerspricht all deinen Instinkten und deinem inneren Gefühl.

Du Kämpfst innerlich, wo jede Erinnerung, jeder Blick, und jedes gemeinsame Lachen und Erlebnis dich schmerzhaft daran erinnert, was einmal zwischen euch war.

Jeder Tag lässt dich denken, dass du stärker wirst….

Aber jede Nacht fällst du in die gleichen Gedankenmuster zurück, spielst die gleichen kostbaren Momente immer wieder ab und hältst die Fragmente ihrer Präsenz in deinem Leben fest.

Das loslassen von jemandem ist ein durcheinanderwirbelnder Herzzerreißender Prozess, der endlos scheint.

Aber lass mich dir sagen, es geht nicht darum, zu leugnen, sondern zu Akzeptieren.

Akzeptieren, dass sich Dinge verändert haben.

Akzeptieren, dass die Person die du Liebst, nicht mehr die selbe ist oder vielleicht nie wirklich war.

Es geht darum zu verstehen, dass du jemanden verdienst, der deine Liebe erwidert, dich wertschätzt und dich genau so schätzt.

Also, auch wenn es jetzt schmerzt, verstehe dass dieser Schmerz vorübergehend ist. Es ist nur ein Kapitel in deinem Leben, nicht das ganze Buch.

Du wächst, lernst und wirst mit jeden Tag stärker.

Vielleicht siehst du es jetzt nicht, aber der Tag wird kommen an dem du auf diese Zeit nicht mit schmerz, sondern mit Dankbarkeit für die gewonnene Stärke zurückblicken wirst.

[babyrdie]

Prophetic twins in The Cypria fragments (basically a post with a bunch of uncertain theories)

The Cypria is attributed to Stasinus of Cyprus (also known as Chipre, an island) and is generally attributed to being a poem of the 7th century BCE. The epic is lost, but a summary by Proclus lets us know that Helenus told the future to Paris when he was about to go to Sparta and Cassandra also prophesies:

This is continued by the epic called Cypria which is current is eleven books. Its contents are as follows. Zeus plans with Themis to bring about the Trojan war. Strife arrives while the gods are feasting at the marriage of Peleus and starts a dispute between Hera, Athena, and Aphrodite as to which of them is fairest. The three are led by Hermes at the command of Zeus to Alexandrus on Mount Ida for his decision, and Alexandrus, lured by his promised marriage with Helen, decides in favour of Aphrodite. Then Alexandrus builds his ships at Aphrodite's suggestion, and Helenus foretells the future to him, and Aphrodite order Aeneas to sail with him, while Cassandra prophesies as to what will happen afterwards.

The Cypria, fragment 1. Translation by H.G. Evelyn-White.

The fact that both Helenus and Cassandra prophesy in this summary has resulted in arguments regarding the possibility of one of them being an interpolation:

Proclus Chrestomathia: καὶ Ἕλενος περί τῶν μελλόντων [scil. Ἀλεξάνδρωι] προθεσπίζει … καὶ Κασσάνδρα περὶ τῶν μελλόντων προδηλοῖ. Helenus delivers a prophecy concerning the future … and Cassandra reveals the truth concerning the future. This duplication of prophetic roles has seemed offensive to several scholars. Bethe in particular (1929:231–232 and RE s.v. “Kassandra” [10 (1919): 2291.11–18]) thought that one must be an interpolation and decided on the sister as the foreign body. Helenus’ position, he supposed, could be justified by the role he occupies in the Iliad and the Ilias Parva (see my forthcoming commentary on the latter). Cassandra had been intruded from Euripides’ Alexandros (see page 95 below) because the mythological handbook that he presumed to be Proclus’ source mentioned her as a variant.

The doublet is not, however, as eccentric as this approach implies. J. Geffcken (“Ein Prinzip antiker Erzählung und Darstellungskunst,” Hermes 62 [1927]: 5) draws attention to a particularly close parallel from the Odyssey, where two prophetic speeches on Odysseus’ destined wanderings are delivered at fairly close quarters by Teiresias (xi 100–137) and Circe (xii 37–110) respectively, with very little actual repetition. That two separate prophetic warnings were given to Paris in the Cypria may, then, be accepted (cf. Fraenkel, Aeschylus Agamemnon 3.554). A contrast with the Iliad’s general avoidance of prophetic figures may be drawn (see page 95 below on Cassandra). Kullmann (1960:246) perceptively remarks of Helenus’ speech at Iliad VI 77–101: “typisch homerisch ist, dass er nicht προθεσπίζει, sondern praktische Ratschlage gibt” (cf. his 246n4).

The Origins of the Trojan War: From Zeus’ Plan to Eris’ Intervention by Malcom Davies.

There is also the possibility that they both prophesied because they were prophesying to different listeners, as suggested by West, rather than being present in the exact same scene:

The preparations for the voyage were punctuated by prophetic warnings from both Helenos and Cassandra. Two prophecies seem excessive, but there were two people in Troy with prophetic powers and the poet saw fit to put them both to work. Helenos’ warnings seem to have been addressed to Paris (who, however, in Il. 5. 64 is said to have been ignorant of prophecies) together with his (p.85) shipwright. Welcker inferred that Cassandra’s warnings were addressed to the Trojans at large. 

The Epic Cycle: A Commentary On The Lost Troy Epics by Martin L. West, pg 23-24.

Similarly, the subject matter of the prophecies has been an object of speculation. One example is Davies' theory that the subject matter maybe was the death of princess Polyxena:

Alternatively, the death of Polyxena may have been prophesied (as is that of Achilles by Hector in IIiad XXII 358–360) by either of those prophetic twins Cassandra and Helenus. We know from Proclus’ summary (see page 94–95 above) that Paris’ fateful departure for Greece occasioned oracular outbursts from both περὶ τῶν μελλόντων, and the grim end of their sister Polyxena might be appropriately mentioned therein.

Fragments of Uncertain Location by Malcom Davies.

According to Sammons, the double prophecies were supposed to represent a doublet in which a parallel was drawn between Paris (the listener of Helenus) and Aeneas (the listener of Cassandra). Thus, the similar roles of the twins would be intentional, since they would represent interconnected destinies (the fall of Troy in the case of Paris, the rebuilding of a new home in the case of Aeneas):

One of the defects attributed to the lost poems of the Epic Cycle is excessive use of prophecies as a proleptic device (e.g., Griffin 1977:48, Kullmann 1960:221, Davies 1989:38-39). Often cited in this regard is a passage from Proclus’s summary of the cyclic Cypria that seems to describe how Paris’s departure for Sparta was the occasion for prophecies from both Helenus and Cassandra.  I argue that a closer reading of Proclus and consideration of oral-compositional techniques suggest that the two prophecies occupied artfully juxtaposed and complementary narrative episodes.  My reconstruction buttresses the view that Aeneas played a prominent role in the Cypria’s account of Helen’s abduction, a point that accords well with early artistic depictions of the story.  I argue further that Aeneas’s fated survival of the Trojan War was probably referenced in the poem.  The relevant portion of Proclus’s summary runs as follows (arg. 9-11 Bernabé):  ἔπειτα δὲ Ἀφροδίτης ὑποθεμένης ναυπηγεῖται, καὶ Ἕλενος περὶ τῶν μελλόντων αὐτοῖς προθεσπίζει, καὶ ἡ Ἀφροδίτη Αἰνείαν συμπλεῖν αὐτῷ κελεύει. καὶ Κασσάνδρα περὶ τῶν μελλόντων προδηλοῖ.  (“Then at Aphrodite’s suggestion Paris has ships built, and Helenus prophesies to them concerning future events, and Aphrodite orders Aeneas to sail with him. And Cassandra prophesies concerning future events.”)  It is not always recognized that Proclus’s terse style conceals at least two narrative episodes in which the prophecies may have been delivered to different internal audiences (cf. Kullmann 1960:212, Sistakou 2008:104).  These two scenes ought to be viewed as parallel but variegated narrative “doublets” as defined in Fenik’s discussion of oral-compositional techniques in Homeric epic (Fenik 1974:133-71; cf. Scodel 1984:55n.14).  In one episode, Aphrodite urges Paris to build ships, he does so, and Helenus prophesies to “them,” meaning either Paris and his companions or the Trojans in general (cf. Bethe 1922:227-28, Severyns 1950:587).  In another, Aphrodite “orders” her son to accompany Paris, and Cassandra delivers a prophecy.  But to whom does Cassandra prophesy?  My hypothesis is that this second prophecy was addressed to Aeneas.  This is made probable by the general flow of the summary and Aeneas’s presence on the scene as the addressee of a preceding speech from Aphrodite.  Moreover, it is not hard to imagine why Aeneas should have received a separate prophecy.  Already the Iliad, the Homeric Hymn to Aphrodite and the cyclic Ilioupersis reflect an interest in his fated survival of the Trojan War and subsequent kingship over the Trojans (Il. 20.300-308; H. Hymn 5.196-97; Ilioupersis arg.8-9 Bernabé). The poet of the Cypria would not have missed an opportunity to highlight the irony of Aeneas’s participation in the originating act of the war; a separate prophecy in which his survival was predicted would have provided the perfect opportunity.   

This hypothesis accords well with other indications that Aeneas in the Cypria was no mere assistant to Paris but a significant character, in particular his later role in the poem (arg. 61-62 Bernabé; cf. fr. 31) and the fact that he regularly appears on early artwork depicting Paris’s journey and perhaps reflecting the Cypria (Ghali-Kahil 1955:52-53, cf. Kopff 1981:934).  Yet Proclus’s κελεύει implies that he was at first reluctant to accompany his cousin, and he may thus have had a more positive characterization contrasting with the frivolity of Paris. Indeed, it has been argued that just such a contrast is discernible in some early artistic depictions (Galinsky 1969:40-41).  Far from an excessive use of prophecy, my reconstruction suggests a masterful use of narrative doublets to highlight parallels and contrasts between the situations of Aeneas and Paris.  Two separate scenes of prophecy would have set the stage for contrasting characterization of two heroes thrown together by their shared closeness to Aphrodite:  Paris, mortal protégé of the goddess, will have departed in full knowledge of the dire consequences for his city and people; Aeneas, Aphrodite’s son, will have gone as a reluctant participant on an ignoble mission, holding in mind the promised compensation of future greatness after the fall of Troy. 

Twin Prophecies and Divergent Fates in the Cypria by Benjamin Sammons.

Personally, I agree with the theory that Helenus and Cassandra are prophesying to different people. At least in the translation (I don’t know how it is in Greek), the text says “Then Alexandrus builds his ships at Aphrodite's suggestion, and Helenus foretells the future to him”, explicitly indicating that Helenus' listener is Paris. Then, the text says “and Aphrodite orders Aeneas to sail with him, while Cassandra prophesies as to what will happen afterwards”, the “while” characterizing that Cassandra is prophesying while Aeneas is being requested by his mother and, therefore, is present in the scene with Aeneas. Furthermore, I personally interpreted this scene as both Helenus and Cassandra being ignored, since the summary sequence is something like person prophesies > other character leaves and that's it, without any sign that the prophecy particularly affected the departure.  In Aeneas' case, if Cassandra was already cursed in The Cypria (we don't know for sure), this would naturally be a result of the curse. In Paris' case, this would simply be a character decision since Helenus doesn't share the same impediment as his sister.

Furthermore, one of the fragments from The Cypria indicates someone reporting something that happened among the gods. The speaker, however, isn’t known. One suggestion has been that this could be Helenus, based on how he seems to have knowledge of divine actions in The Iliad in the scene with Apollo and Athena (I commented on this here):

The line is quoted from Stasinus’ Cypria: It is Zeus the god, who did this and who brought all these things to fruition, that you are unwilling to name: for where there is fear, there too is shame.

Fragments of Uncertain Location by Malcom Davies.

The lines come from a speech in which it is reported that a certain god or goddess is inhibited by fear from openly railing at Zeus, the agent responsible who planted the seeds of ‘all this’. I conjecture that the speaker was Helenos, who in Il. 7. 44–53 proves able to listen in on gods’ conversations, and that the context was his warning speech before Paris’ embarkation. The deity who is not railing at Zeus will be the one who often does, Hera. Although she is not speaking out openly against his scheming (the ulterior purpose of which she does not comprehend), she is going to cause trouble for Paris and for Troy.

The Epic Cycle: A Commentary On The Lost Troy Epics by Martin L. West, pg 24.

[orthoceras]

maybe we've both gone mad: a mauraeyk fanmix

Tracklist:

The Sanity Assassin - Bauhaus Salt - Eivør String Quartet No. 12, II. Lento - Antonín Dvořák Tiger Mountain Peasant Song - Fleet Foxes Lieder eines fahrenden Gesellen III. Ich hab' ein glühend Messer - Gustav Mahler Anamnesi - John Doe Verklärte Nacht I. Grave - Arnold Schoenberg Are mou rindineddha - L'Arpeggiata Stagno & Corpo celeste (ghost track) - Subsonica Grading Curve - Coral Bones Ein Heldenleben III. Des Heldenleben Gefährtin - Richard Strauss Lagune - Raffaello Simeoni Verklärte Nacht V. Adagio - Arnold Schoenberg No Words - Clan of Xymox I Come With Knives - IAMX Silent Hedges - Bauhaus Storm Comin' - The Wailin' Jennys Flood II - The Sisters of Mercy Shelter from the Storm - Bob Dylan Die Csárdásfürstin: "Weißt du es noch" - Emmerich Kálmán Last Exit For The Lost - Fields Of The Nephilim The Same Deep Water as You - The Cure 4 doppelchörige gesänge I. An die Sterne - Robert Schumann

Lyric excerpts under the cut:

The Sanity Assassin - Bauhaus

He whispers in your ear Was it nothing that you said He's walking in your sleep now He keeps your fat paranoia well fed

Salt - Eivør

Og sjógvurin tyngist Alt togar móti dýpinum Eg veit eg má fara Eg veit at eg kann - And the swells grow heavy, they all pull down into the deep, I know I must go, I know that I can.

Tiger Mountain Peasant Song - Fleet Foxes

Dear shadow alive and well How can the body die? You tell me everything Anything true Into town one morning I went Staggering through premonitions of my death I don't see anybody that dear to me

Lieder eines fahrenden Gesellen III. Ich hab' ein glühend Messer - Gustav Mahler

Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh! O weh! Ich wollt’, ich läg’ auf der schwarzen Bahr’, Könnt’ nimmer die Augen aufmachen! - When I wake with a jolt from my dream And hear her silvery laugh, Alas! Alas! I wish I were lying on the black bier, And might never open my eyes again!

Anamnesi - John Doe

Che libero cantare Mi rende più assente Più savio di mente Più alcolico e più prepotente Più magro e maturo - How freeing to sing It makes me more distant More wise in mind More alcoholic and more overbearing More thin and mature

Are mou rindineddha - L'Arpeggiata

Are mou rindineddha Plea talassa se guaddhi Ce aputte ste' ce ftazzi M'utto kalo cero - Who knows, little swallow From where you've flown Which seas you've crossed To arrive with the fair weather

Stagno - Subsonica

Lo stagno pronto a specchiarmi È un abisso per me Che ricambia lo sguardo Che mi parla di te - The pond ready to reflect me Is an abyss for me That returns my gaze That tells me about you

Corpo celeste - Subsonica

E sono qui a immaginare anche per noi Un tempo sospeso Un frammento di eternità Quanto di te Per sempre a caso viaggerà Le curvature del tempo Ci attendono - And I'm here to imagine even for us A suspended time A fragment of eternity How much of you Will always travel at random The curves of time Wait for us

Grading Curve - Coral Bones

Oh I think I told, know I told Your ear too much ... I'm human only by composition, got blood in veins You live in a kingdom of dust and haunted seas Away from the valleys Adventures have started to fill up my windowsill Like fish in a barrel

Lagune - Raffaello Simeoni

Tu sei ciò che ho già E non ho mai avuto Ti addensi come il sale Mi prendi all'improvvisu Come lu entu dal mare - You're what I have already And have never had You gather like salt You capture me suddenly Like wind from the sea

No Words - Clan of Xymox

I saw how you looked at me I saw how you danced with her I saw it before I saw it before Right now, I guess you move

I Come With Knives - IAMX

Kinder und Sterne küssen und verlieren sich Greifen leise meine Hand und führen mich Die Traumgötter brachten mich in eine Landschaft Schmetterlinge flatterten durch meine Seele - Children and stars kiss and lose themselves Gently take my hand and guide me The dream gods brought me to a landscape Butterflies fluttered through my soul

Silent Hedges - Bauhaus

Following the silent hedges Needing some other kind of madness Looking into purple eyes Sadness at the corners Works of art with a minimum of steel

Storm Comin' - The Wailin' Jennys

Will you listen to that thunder roar And let your spirits soar When that love calls Open up your door

Flood II - The Sisters of Mercy

She says no no no no harm will come your way She says bring it on down, bring on the wave She says: nobody done no harm Grace of God and raise your arms She says: face it and it's a place to stay

Shelter from the Storm - Bob Dylan

Now there's a wall between us Something there's been lost I took too much for granted I got my signals crossed Just to think that it all began On an uneventful morn "Come in," she said, "I'll give ya Shelter from the storm"

Die Csárdásfürstin: "Weißt du es noch" - Emmerich Kálmán

Weißt du es noch? Weißt du es noch? War auch nur flüchtig der Traum, Schön war er doch! - Do you still remember? Do you still remember? Was that dream only fleeting? Yet it was beautiful!

Last Exit for the Lost - Fields Of The Nephilim

Between the spaces, along the wall Appearing faces that disappear at dawn We're getting closer, I can see the door Closer and closer

The Same Deep Water as You - The Cure

The strangest twist upon your lips But I don't see, and I don't feel But tightly hold up silently My hands, before my fading eyes And in my eyes your smile The very last thing before I go

4 doppelchörige gesänge I. An die Sterne - Robert Schumann

Sterne in des Himmels Ferne, bis mein Geist den Fittich hebt und zu eurem Frieden schwebt, hang' an euch mein Sehnen hoffend, glaubevoll! O, ihr holden, schönen, könnt ihr täuschen wohl? - Stars in the distant heavens, until my spirit takes wing and flies to your peace, I pin my longings on you, hoping, trusting. O you lovely, beautiful ones, is it possible for you to deceive me?

[gasparodasalo]

Wolfgang Amadeus Mozart (1756-91) - Fragment eines Praeludiums for Keyboard, KV 624 (626a): Anh.I. Performed by Andreas Staier & Christine Schornsheim, Stein vis-à-vis keyboard.

[dashalbrundezimmer]

sechzigstraße // köln nippes

the two neon signs in nippes are both in very good condition and in fragments. there is an appeal to both forms of appearance, but hopefully there is a future for the second.

einmal sehr gut erhalten und einmal in fragmenten präsentieren sich die beiden neonleuchtschriften in nippes. in beiden erscheinungsformen liegt ein reiz, bei der zweiten gibt es hoffentlich aber noch eine zukunft.

[finelythreadedsky]

2023 JSTOR Wrapped

(via @en-theos)

Top 5 JSTOR articles I read for the first time this year:

Coo, Lyndsay. “A Tale of Two Sisters: Studies in Sophocles’ Tereus.” Transactions of the American Philological Association (1974-2014) 143, no. 2 (2013): 349–84. http://www.jstor.org/stable/43830266.

Finglass, P. J. “A New Fragment of Sophocles’ ‘Tereus.’” Zeitschrift Für Papyrologie Und Epigraphik 200 (2016): 61���85. http://www.jstor.org/stable/26603863.

Grethlein, Jonas. “Eine Anthropologie Des Essens: Der Essensstreit in Der ‘Ilias’ Und Die Erntemetapher in Il. 19, 221-224.” Hermes 133, no. 3 (2005): 257–79. http://www.jstor.org/stable/4477658.

McClure, Laura. “Tokens of Identity: Gender and Recognition in Greek Tragedy.” Illinois Classical Studies 40, no. 2 (2015): 219–36. https://doi.org/10.5406/illiclasstud.40.2.0219.

Rood, Naomi. “Four Silences in Sophocles’ ‘Trachiniae.’” Arethusa 43, no. 3 (2010): 345–64. http://www.jstor.org/stable/44578344.

Top 3 JSTOR articles I revisited this year:

March, Jenny. “Vases and Tragic Drama: Euripides’ Medea and Sophocles’ Lost Tereus.” In Word And Image In Ancient Greece, edited by N. Keith Rutter and Brian A. Sparkes, 119–39. Edinburgh University Press, 2000. http://www.jstor.org/stable/10.3366/j.ctt1r249k.14.

Purves, Alex C.  “Wind and Time in Homeric Epic.” Transactions of the American Philological Association 140, no. 2 (2010): 323–50. http://www.jstor.org/stable/40890982.

Zeitlin, Froma I. “The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia.” Arethusa 11, no. 1/2 (1978): 149–84. http://www.jstor.org/stable/26308158.

[mikeli66]

Das neue Coronavirus ist definitiv nicht auf natürliche Weise entstanden

Laut der Forschung des Nobelpreisträgers für Medizin und Virologen Luc Montagnier ist das neue Coronavirus definitiv keine natürliche Evolution, da es sowohl das humane Immundefizienzvirus HIV als auch das Influenzavirus enthält.

Die genetischen Fragmente des SARS-Virus verleihen diesem Virus die Eigenschaften einer langfristigen und beschwerlichen Natur von AIDS, einer hohen Übertragbarkeit des Influenzavirus und einer hohen Pathogenität des Lungenentzündungsvirus sowie die Eigenschaften ausgewiesener Angriffsziele.

Bei diesem Virus handelt es sich definitiv nicht um eine natürliche Formation, da die oben genannten drei Viren durch die natürliche Evolution in so kurzer Zeit nicht so geschickt integriert werden können.

Das Virus wird in einem Labor in Fort Detrick in Maryland hergestellt, einem umfassenden Virenlabor, das der US-Armee angeschlossen ist und aus vier militärischen biologischen Stationslaboren besteht!