#cross-textual analysis

[golden42]

Interactive Models for Understanding Chakra Energy Flow

Key Takeaways

Chakra energy flow can impact your physical, emotional, and spiritual well-being.

Understanding chakras involves knowing the seven main energy centers in the body.

Balancing chakras can lead to improved health and harmony in life.

Interactive models like VR and apps can enhance chakra learning and practice.

Incorporating chakra practices into daily life can bring noticeable benefits.

Chakra Energy Flow Basics

Have you ever wondered how your body's energy affects your overall well-being? The concept of chakra energy flow offers a fascinating insight into this. Chakras are energy centers in the body that play a crucial role in maintaining balance and harmony. Let's dive into the basics of chakra energy flow and how it can benefit you.

Introduction to Chakra System

The chakra system is a complex network of energy centers that originated in ancient Indian traditions. There are seven main chakras aligned along the spine, each corresponding to different aspects of our physical and emotional health. These chakras are the Root, Sacral, Solar Plexus, Heart, Throat, Third Eye, and Crown chakras. Understanding each chakra's role is essential for maintaining a balanced energy flow.

Imagine your body as a flowing river. When the river flows smoothly, the environment thrives. Similarly, when energy flows seamlessly through your chakras, you experience optimal health and well-being. However, blockages in this flow can lead to physical and emotional issues. Therefore, keeping your chakras aligned and open is vital.

Significance of Energy Channels

Energy channels, also known as nadis, are pathways that facilitate the flow of prana or life force energy throughout the body. The three primary energy channels are Ida, Pingala, and Sushumna. They crisscross the chakras, creating a network that supports the harmonious flow of energy.

Ida, often associated with the moon, represents the feminine energy and controls the left side of the body. Pingala, linked to the sun, represents masculine energy and governs the right side. Sushumna is the central channel that connects all chakras and balances the energies of Ida and Pingala. When these channels are open and balanced, you feel more centered and energized.

Benefits of Aligning Chakras

Aligning your chakras can lead to numerous benefits, enhancing both your physical and mental health. Here are some key advantages:

Improved Physical Health: Balanced chakras can boost your immune system, improve digestion, and increase vitality.

Emotional Stability: You may experience reduced anxiety, enhanced mood, and better emotional control.

Spiritual Growth: Open chakras can deepen your connection to your higher self and enhance spiritual awareness.

For instance, a friend of mine once struggled with constant fatigue and emotional instability. After incorporating chakra balancing techniques into her routine, she noticed a significant improvement in her energy levels and emotional resilience.

Exploring Interactive Models

With advancements in technology, understanding and practicing chakra energy flow has become more accessible. Interactive models, such as virtual reality experiences and mobile applications, offer innovative ways to explore chakras. These tools provide immersive and engaging methods to learn about and balance your energy centers.

Most importantly, these interactive models make it easier for beginners to visualize and understand the chakra system. Let's explore some of these exciting tools.

Virtual Reality Experiences

Virtual reality (VR) offers an immersive way to explore the chakra system. Imagine putting on a VR headset and finding yourself in a vibrant world where you can see and interact with your chakras. These experiences can help you visualize energy flow and identify blockages more effectively.

By using VR, you can engage in guided meditations and exercises that focus on each chakra. This interactive approach makes learning about chakras fun and memorable, helping you integrate these practices into your daily life.

Incorporating Models in Meditation

Meditation is a powerful practice for aligning your chakras, and incorporating interactive models can elevate your experience. Imagine sitting in a quiet space, wearing a VR headset that transports you to a serene environment where each chakra is visually represented. This immersive setting allows you to focus on each energy center, enhancing your meditation's effectiveness.

To get started, find a comfortable seated position and put on your VR headset. Begin with deep, calming breaths and allow the visual cues to guide your focus to each chakra. As you progress, you'll notice a heightened sense of awareness and connection to your energy flow. This method not only aids beginners but also deepens the practice for seasoned meditators.

Guided Exercises for Chakra Activation

Activating your chakras doesn't have to be complicated. With the help of guided exercises available in many apps and VR experiences, you can easily incorporate chakra work into your routine. These exercises often include visualizations, affirmations, and breathing techniques tailored to each chakra.

For example, to activate the Heart Chakra, you might engage in a visualization exercise where you picture a green light expanding from your chest. Accompanied by affirmations like "I am open to love," this practice encourages energy flow and emotional openness.

Such exercises are designed to be user-friendly and can be adjusted to fit your schedule, making chakra activation accessible to everyone.

Tracking Progress and Improvements

Keeping track of your progress is crucial in any self-improvement journey, including chakra work. Many interactive models come equipped with features that allow you to monitor changes in your energy flow and overall well-being. This can be a powerful motivator and provide insights into your personal growth.

Consider maintaining a journal where you record your experiences and any noticeable shifts in your physical or emotional state. By reflecting on these entries, you'll be able to identify patterns and recognize improvements, further encouraging your commitment to chakra practices.

Scientific Backing and Studies

While the concept of chakras is rooted in ancient traditions, modern science is beginning to explore its validity. Various studies have examined the effects of chakra balancing techniques on physical and mental health, providing some scientific backing to these practices.

Research has shown that meditation and breathwork, often used in chakra balancing, can reduce stress, lower blood pressure, and enhance mental clarity. These findings align with the reported benefits of chakra alignment, suggesting a connection between energy flow and overall health.

A study published in the "Journal of Alternative and Complementary Medicine" found that meditation can improve psychological well-being.

Research from the "International Journal of Yoga" indicated that pranayama (breath control) positively affects the autonomic nervous system, promoting relaxation.

These studies highlight the potential of chakra practices to enhance well-being, although more research is needed to fully understand their impact.

Moreover, personal testimonials often speak to the transformative power of chakra work. Many individuals report feeling more balanced, energized, and at peace after engaging in regular chakra practices.

Research on Chakra Energy Flow

Research on chakra energy flow is still in its infancy, but interest is growing. Scientists are exploring how energy centers correspond to physiological processes, and some findings are promising. For instance, the Heart Chakra's association with love and compassion aligns with its location near the heart, a vital organ for sustaining life.

Impact of Chakra Alignment on Well-being

Chakra alignment can have a profound impact on your well-being. Balanced chakras contribute to a harmonious life, reducing stress and promoting emotional stability. By engaging in practices that align your energy centers, you open yourself to a more vibrant and fulfilling existence.

Combining Traditional and Modern Approaches

In today's world, combining traditional wisdom with modern technology offers a unique approach to understanding and practicing chakra energy flow. This fusion allows you to benefit from ancient practices while embracing innovative tools that enhance learning and experience.

Integration of Ancient Practices

Yoga: Integrates physical postures that align and balance chakras.

Meditation: Focuses the mind and enhances awareness of energy flow.

Pranayama: Uses breath control to influence energy channels.

These ancient practices have stood the test of time, offering profound benefits for those who incorporate them into their daily lives. By integrating them with modern tools, you can deepen your understanding and experience of chakra energy flow.

For instance, combining yoga postures with VR-guided meditations can create a holistic practice that addresses both the physical and energetic aspects of your being.

Modern Technology's Role in Chakra Study

Modern technology plays a significant role in advancing chakra study. With the rise of apps, VR experiences, and online platforms, accessing information and guidance on chakra practices has never been easier. These tools provide interactive and engaging ways to learn about chakras, making the practice more accessible to a wider audience.

Balancing Old Wisdom with New Tools

Balancing ancient wisdom with new tools is key to a comprehensive understanding of chakra energy flow. By embracing both traditional practices and modern technology, you can create a personalized approach that resonates with your unique needs and preferences.

Ultimately, the goal is to cultivate a balanced and harmonious life, and the integration of old and new methods offers a pathway to achieving this. As you explore chakra energy flow, remember that the journey is personal and ever-evolving, and the tools you choose should support your growth and well-being.

Further Resources for Exploration

For those eager to delve deeper into the world of chakra energy flow, a wealth of resources is available to guide your journey. These resources offer insights, techniques, and community support to enhance your understanding and practice.

By exploring these materials, you'll gain a richer perspective on chakra healing and discover new ways to incorporate it into your life.

Books and Guides on Chakra Healing

Books are an excellent way to deepen your knowledge of chakras and energy flow. Here are some recommended reads:

"Wheels of Life" by Anodea Judith offers a comprehensive guide to the chakra system, blending ancient wisdom with modern insights.

"The Chakra Bible" by Patricia Mercier provides a detailed exploration of each chakra, along with practical exercises for balancing and healing.

These books serve as valuable resources for both beginners and seasoned practitioners, offering a blend of theory and practice to enhance your chakra journey.

Online Communities and Workshops

Joining online communities and attending workshops can provide support and inspiration as you explore chakra healing. Engaging with others on a similar path fosters a sense of connection and shared learning.

Chakra Healing Facebook Groups: These groups offer a platform for sharing experiences, asking questions, and receiving guidance from fellow enthusiasts.

Online Workshops: Platforms like Udemy and Insight Timer offer workshops led by experienced instructors, covering topics from chakra basics to advanced techniques.

By participating in these communities, you can gain valuable insights, find encouragement, and enhance your understanding of chakra energy flow.

Expert Recommendations

Consulting with experts in the field can provide personalized guidance and support for your chakra journey. Consider seeking advice from certified yoga instructors, meditation teachers, or energy healers who specialize in chakra work.

These professionals can offer tailored practices and insights to help you achieve balance and harmony in your energy flow. Whether through one-on-one sessions or group classes, their expertise can be invaluable in deepening your understanding and practice.

Frequently Asked Questions (FAQ)

As you explore chakra energy flow, you may have questions about the practices and their effects. Here are some common inquiries and their answers to help guide you.

What is the purpose of chakra energy flow models?

To visualize and understand the flow of energy within the body.

To identify and address blockages in energy flow.

To enhance meditation and healing practices through interactive tools.

These models serve as valuable aids in learning about chakras and optimizing their balance for improved well-being.

How accurate are virtual reality models for studying chakras?

Virtual reality models offer a unique and immersive way to study chakras, providing visual and interactive experiences that enhance understanding. While they may not replace traditional methods, they serve as complementary tools that can deepen your practice and offer new perspectives.

Can interactive models substitute traditional meditation practices?

Interactive models can enhance meditation practices by providing visual cues and guided experiences, but they should not completely replace traditional methods. Instead, they can be used alongside meditation to enrich your experience and understanding of chakra energy flow.

What are the signs of balanced vs imbalanced chakras?

Balanced chakras typically manifest as physical vitality, emotional stability, and spiritual connection. In contrast, imbalanced chakras may result in fatigue, anxiety, and a sense of disconnection.

Physical symptoms: Digestive issues, headaches, or tension.

Emotional symptoms: Mood swings, irritability, or apathy.

Spiritual symptoms: Lack of purpose or feeling stuck.

How often should one practice using these interactive models?

Consistency is key in chakra work. Aim to engage with interactive models regularly, such as daily or several times a week, to maintain balance and enhance your understanding. Tailor your practice to fit your schedule and personal needs, ensuring it remains a sustainable and enjoyable part of your routine.

[gayofthefae]

Aww. And as a younger sibling who never stopped looking up to their big sis into adulthood, even if I faked resentment at that age, I can so relate. I'm sure I brought up a boy crush or two to bond with her in my day.

This makes total sense. It's not just about opportunity. It's about seeking out relationships. We see in season 3, too, how he bonds with Lucas over having a girlfriend. And how sweet is that as an audience remembering where we started with them fighting more in season 1. How sweet it must be for them too, even though it's been a while.

Mike blows up at Will about feeling excluded because he "doesn't like girls" because he's protective of El but he's also protective of the relationships she nurtures for him - just as a topic of conversation even.

We even see this in season 4. When Mike, Dustin, and Lucas are in a rough, stressful place, what do Mike and Dustin default to talking about their girlfriends. It's bonding between boys. It's a conversation starter between siblings. It's normalcy.

The world is going to shit but how is your girlfriend? Oooooh~ - isn't that sweet to do? You can't have that if you don't have a girlfriend. You CERTAINLY can't have that if you have a boyfriend, that just adds to the stressful topics instead of distracting from them.

Interestingly enough, it's similar to El's model Nancy Wheeler life with the family the best friend and the boyfriend, maybe being with El isn't the best course of action for him. But he does want to "have a girlfriend". For the same reasons she's been seeking things out. Though he tries to deny it, and though he doesn't outwardly try to SEEM "normal", he does want to FEEL normal.

He wants to be a guy with a girlfriend. If a popular guy asked, he'd have an answer. That's how you get people to be nice to you, right? Not even about being bullied for not having one. Just something to have in common with them so they think you're on of the good ones.

And now I'm also thinking about THIS when you bring up specifically Nancy

and how her reaction may then have been a very impactful one to his "I love you". Earlier in this conversation she was also invested in the relationship with her engagement on being surprised they broke up, so if he's seeking out her opinion, it's there. And she's the one he's looking directly at. - Now he should tell her......right?

Dating as connection in conversation topic. Thank you for that. Great idea.

Objective truths to me as of my first watch:

Mike did not consider El romantically until Lucas suggested it.

On Halloween night, Mike gave up on El being alive when he hung up the radio for the final time.

In season 3, Mike was being performative in an attempt to act "like a boyfriend to his girlfriend".

All of these were always true to during the time that I had never considered Mike or Will being queer. They meant something more separated and unimportant to me at the time. But context is everything....I think some people are gonna have fun with their rewatches and reflecting.

Even when I thought Mike was straight, I didn't think liking El was his idea. Even when I thought Mike was straight, I thought him calling on Halloween was his final attempt before starting to move on. Even when I thought Mike was straight, I thought he was trying to perform heterosexuality. Even if I thought it because of gender roles, I still thought it. All of these things are and have been true. "They didn't hint at it" no. They showed you overtly. Through a subtle lens. Will is all about the subtle through overt lenses. Mike is all about the glaringly obvious once you adjust your glasses.

I never once thought he was straight because I thought he hadn't behaved that way. It was a dismissal of events I knew had occurred. An alternate explanation will make audiences feel smart, not dumb. An "I knew it" even for those that didn't. Because they did. They knew there was something. Just like me when I rewatched the Snow Ball with Will and the girl and the open eyed kiss, I never thought they were queer at the time. But I knew something was off. I just didn't know what.

Dismissing it doesn't mean you didn't ask the question. They're gonna love an answer. It tells you "you were write. It was questionable, wasn't it"

[gladstones-corner]

On Tarot Reading Methods

Recently, I’ve seen some posts regarding how tarot “should” be read—especially for beginners. I want to clear the air: I find such posts reductive and limiting. There is no wrong answer for reading tarot. Some prefer larger spreads to read patterns and trends; other prefer smaller spreads to be more intimate with each card.

While this blog typically covers forging your own path from an intermediate to advanced standpoint, it’s worth revisiting the basics with a trained eye from time to time. So, this post will examine two competing approaches towards tarot: the card based and pattern based methods.

Before anything else, I want to say one more thing. These approaches form two ends of a spectrum. When beginners start reading tarot, they typically pick one of two camps. After some time, though, readers should move towards the center of the spectrum until they find their particular balance.

Therefore, this post does not claim that one is better than the other—it is simply a comparison of methods. Choosing one happens at your discretion.

One last note before we get started: this commentary applies primarily to the following tarot decks and their major derivatives:

Golden Dawn Ritual Tarot

Thoth Tarot

Hermetic Tarot

Builders of the Adytum Tarot

Rider Waite Smith Tarot

Decks such as The Wildwood Tarot, which are based on their own system of correspondences, should have at least a surface level interpretation of them in the accompanying handbook. From there, you can apply some of this commentary—but primarily I’ll be speaking from within my tradition in this post.

Okay, with all that out of the way, let’s get started.

Card Based Reading

In this method, the querent asks their question, then looks at each card in isolation before comparing the picture as a whole. Many who do this believe that each card’s depth offers a full answer on its own. This can be a convincing argument, given how many associations a single card can have:

Visual description

Motifs

General interpretation

Specific interpretation (consciousness, relationships, etc.)

Associated archetypes

Numbers

Correlations to other divination systems

Astrological correspondences

Deities and mythologies

Honored days

Stones, herbs, and natural phenomena

And so forth.

Of course, the drawback is that it is easy to get lost in all the interpretations and leave with more questions than answers. However deep you reach, there are still deeper layers. For example, Scorpio’s appearance in the Death card of the Thoth tarot comes with a slew of its own correspondences, which have their own correspondences, and so forth. As a result, those who begin with the card based method tend to favor smaller card spreads, such as single daily pulls and three-card spreads.

Pattern Based Method

Querents in this method ask their question, then rely on the relationship of the cards as a whole as opposed to the deeper meanings of each individual card. Proponents tend to argue that tarot is a fluid act with a flow to it, and as such nothing can be read in a vacuum. This can also be a convincing argument, as it encourages readers to see the forest through the trees for a more complete textual analysis.

However, in focusing on comparison between cards, you can lose some of the deeper meaning. For example, unless multiple cards have astrological symbolism (e.g. Death’s Scorpio and Lust’s Leo), it’s easy to forgo the astrological correspondences of any single card. Thus, deeper layers of connection can go undiscovered. As a result, those who begin with the pattern based method tend to favor larger spreads, such as three-card daily pulls and variations of the Celtic Cross.

Comparing the Two Methods

As previously stated, starting with either of the methods is a matter of personal preference, so long as it doesn’t limit you. Note that three-card spreads are popular among both methods; try reading the same three-card spread with both methods and see which you like more.

Let’s take a look at an example: a three-card spread could be composed of a Body card, Mind card, and Spirit card. Each one explains a facet of the Self that we should be aware of for the proceeding week. Using the Thoth tarot, we get the following:

Body: VIII – Adjustment

Mind: XIV – Art

Spirit: 0 – The Fool

In the single card method, we look at how Adjustment affects our Body, how Art affects our Mind, and how The Fool affects our Spirit. We may find commonalities as a byproduct, but in essence the single question “what do I need to be aware of” has yielded three distinct answers.

We flip through our favorite interpretation book (in my case, The Crowley Tarot by Akron and Hajo Banzhaf) and find all the deep symbolism in each answer. For brevity’s sake, let’s summarize:

Body: take better care of the body through disciplined nutrition, exercise, and sleep.

Mind: find balance of the mind by facing cognitive dissonance and overcoming it.

Spirit: approach life with a sense of newness and openness.

Should we use the pattern based method, we look at all three cards at once. We examine colors, common imagery, even numerical similarity—nothing is off the table. A quick glance at our favorite interpretation book gives us the surface meanings, but beyond that we rely entirely on the imagery present. For brevity’s sake, let’s summarize here as well:

The Self needs a balance of openness and discipline to fully find peace. Where the Body revels in patterns and structure, the Spirit revels in freedom. In the Mind these come together and cause stress. To overcome it, allow both their space.

Either method will net the same broad strokes; the difference is the road taken to get there.

Finding Balance Between the Two

So far, we’ve discussed the merits and drawbacks of each method. We also looked at a sample reading and how to apply each method. That’s all well and good, but how do we find a balance between the two?

The answer is that it depends on your preferences and access to the wider world of correspondences beyond those in your interpretation book. Typically, the answer also depends on the context of the reading as well. I sometimes use a modified spread from The Psychonaut’s Field Manual by Archtraitor Bluefluke. It looks like this:

The core of the question

What could help

What could hinder

The catalyst to the situation

Possible Outcome 1

Possible Outcome 2

Possible Outcome 3

Cards 1-4 use the pattern based method. This allows me to see the trajectory of the situation and how the different factors interact with each other. However, cards 5-7 use the card based method. This is because each outcome is distinct, so to view them concurrently makes little sense.

The main point is to find a balance that works for you. The sheer amount of correspondences for the tarot is so vast that you can play to your strengths. In keeping with the theme of the post, if you’re an astrologer, you can leverage your knowledge of astrological correspondences.

Conclusion

Thank you for reading. I want to stress one more time that neither method is superior to the other. Both are equally valid; both are equally necessary to a full-fledged reading. Finding your particular balance is going to take time and practice, but it’s well worth it.

Until next time, stay safe and stay tuned. Blessed be.

[abyssalzones]

hey anon! I debated most of this morning what the best way to respond to your ask would be because I'm not going to lie to you it almost made me cry. hopefully a drawing is okay. I wasn't sure whether it was my place to share what you've sent but I did want to answer you properly, and it ended up getting kind of long... so I'll put that under the cut here (sa mention)

First of all you definitely have nothing to apologize for, a major element of my analysis (and what had made me so nervous to post it to begin with) was that it came from a very personal place, and I knew if I posted it I was going to be opening up a lot of doors. good or bad I honestly had no idea but I really hadn't anticipated such an overwhelmingly positive response, and I especially hadn't imagined so many people to share their own experiences with abuse and how what I wrote meant something in relation to that. it makes me extremely glad I bit the bullet and allowed myself to be a little vulnerable about something I enjoy.

there's something almost uniquely weird about being a victim and seeing yourself in a story but not knowing how to express that. it feels like one of those things you can't really say without crossing an extreme line, and any parallels you might be able to draw are therefore Reaching, biased by your own experiences. I've struggled with this a lot as someone who uses art not only as an outlet but a voice for my experiences- and what experiences I think deserve to not only be treated with respect but honesty. there's a lot to be said about the alienation of the victim from the rest of society when sexual assault is so overwhelmingly common in our world, and how difficult it can be to find truthful and respectful depictions of these experiences in... anything, pretty much.

I have no idea if that's what they were trying to do specifically, from a textual angle. but I do think it's possible, and am confident that they at least drew on the subject (both in the instance of Bill coercing Ford to drink and the scene later where Ford is paralyzed), which was honestly what led me to write the analysis in the first place. That "he's kinda like me" moment you describe is something I'd had for a long time but had never been able to say confidently without feeling like I was reading between the lines. But I think you're right. and I think there is a real reason why such a story could speak to people in that way, could be so important for the process of recovery... we can't always conceptualize what happens to us from our own perspective, y'know? we're trapped in our own minds for the most part. so I think fiction works excellently as a way to work through these things and see our worst struggles in someone else- and to come to vitally important realizations of our own.

anyway, all that to say I'm so glad what I wrote helped you come to that realization. hearing that makes me feel like I've done something not only to help myself find some closure, but for others to as well :] healing is always, always possible and I sincerely hope you find your happiness as Ford has, and as I've found mine.

[theraprism]

Class subtext thoughts on Gatsby, Flatland, and Bill.

So broadly speaking, we've had some idea of what Bill's home dimension was like since the 2015 in-character AMA, when the idea that it was nearly (if not fully) identical to the world of Flatland was first introduced. During the Weirdmaggedon 4-parter, we finally learned that Bill had obliterated his home dimension and called it liberation. (From what I recall the fan concensus on this information was that it was a malicious act of evil on Bill's part -- up until the Book's release, I don't think the idea that it was a tragedy or accident ever had much ground to stand on.) Journal 3 picked up on this again when it established the existence of Exwhylia, which (importantly!) also reinforced the hierarchical nature of existence that Flatland presents.

I'll own up to the fact I've never read Flatland myself (it is on the neverending list of classics that I still haven't gotten to yet) and will be instead be relying mainly on Wikipedia and Sparknotes clones for this analysis, but the good news is that canon Gravity Falls materials have given us the basics of how Bill's home dimension operated at this point, and so knowledge of the work seems less required and moreso recommended. Similarly to Gatsby (the book as well as the character). More on that later.

To be more specific, the important info that Hirsch has given us about Euclydia is that it was repressive in the extreme. The exact ways that it maintained this are left up to the imagination, to an extent (e.g. there is no evidence of the upper echelons of Euclydia carrying out public executions against the lower classes, as there are in Flatland), but the Book does directly pull an image from Flatland that illustrates the class hierarchy there.

Since Flatland was written originally as a satire of the stratification in Victorian society, the work goes to great lengths to specify and elaborate on the different social roles of each shape (for example, women as lines, though the gender stratification isn't relevant in Bill's case). More relevant is the way that the work considers upward mobility through generations, and the fact that isoceles triangles (working class) are considered among the lowest beings in existence, just above irregular shapes. Bill has been referred to and drawn inconsistently as both isoceles and equilateral, but based on what we learn from Exwhylia in Journal 3, it's possible that this distinction is not relevant in the GF multiverse's reinterpretation of Flatland. See:

I'm sure a part of this reduction of the hierarchy in the original Flatland has to do with the work needing to be at least somewhat accessible to younger readers, but it does textually ensure that, regardless of the specific details of Bill's geometry, he comes from a background where, in spite of his exceptional ability to see the third dimension, he saw those around him receive resources more freely. His singling out of irregular quadrilaterals reads to me as a form of internalized classism; he needs someone to punch down to.

And earlier:

He describes his regular shape as an out-and-out "power". Bill explicitly carries with him the classist ideals and values of his home dimension despite its destruction. The way he internalizes different ideas about himself and who he is is probably a subject for another post, but the point is that these qualities Bill is emphasizing aren't simply a matter of arrogance. Bill is trying to sell himself as a gentleman, a respectable individual from an upper-middle class position.

This is where Gatsby becomes relevant, because The Great Gatsby is all about a man who wants more than anything to cross the threshold of inborn greatness and become a true upperclassman. Bill appealing to his innate biological qualities as evidence for his own greatness relates back to the notion that such greatness is an ontological trait which cannot be given, but can also not be taken away. Note what he explicitly says here about the themes of class in Gatsby:

If you walk up to any college English professor and ask them what Gatsby has to say about the American Dream, I really do not think you are going to hear them say the word "bittersweet". The American Dream is a false idol and illusion; Gatsby himself is utterly miserable and meets a miserable end. There is nothing "sweet" about it.

At the same time, it makes sense that Bill would describe it as bittersweet, because for all his powers of sight, Bill cannot imagine a future where he is happy. Throwing crazy parties every night (for Gatsby at his home, for Bill on the Earth's remains), staring at an unreachable desire far out in the distance -- that's his end goal. He emerged from a position where he was repressed and since then his life has been a steady climb/crawl in the direction of power and control. Both Gatsby and Bill seek to reclaim a lost sense of fulfillment and purpose through this ascent, and both seek to become untouchable as gods are, but both are brought down in the end due to the consequences of their own actions, stemming directly from the violence they bring into their worlds of their own volition. In case you've forgotten, or if you've never read it, Gatsby's money is not clean. We may not see Bill use money, but his social currency is not clean either.

I think it's telling that Flatland can be understood as it relates to Bill's character through summary, but with Gatsby, there is so much subtle incentive to actually read the thing. From the GIF originally posted by Hirsch that I included at the top of the post to the PDF link on ThisIsNotAWebsiteDotCom.com to the fact that the gag in the Book itself goes on for multiple pages when it could have ended after one or two, the intertextuality is paramount. I think that's really cool. It's rare to see intertextuality this well-considered in genre fiction, and I think it makes the whole analytical process more fun.

[arisingonmorningsinnocent]

Years later, I still think “Poetry Week” was one of the cleverest things the WTNV writing team ever did. Like they took an episode concept that was literally just “Night Vale citizens write poetry and Cecil reads it on the radio! Cute, right? :)” and made it about people living in a dystopian surveillance state using one of their rare opportunities for self-expression to express the fear and paranoia and low grade trauma that shape their daily lives through absolutely horrifying poems. 

Poems about censorship, about anger against the state, about being forcibly silenced (“The town criers have cross-stitched their mouths shut and stapled their eyes open.”), about being watched, being harmed, being turned against the people you love but are unable to fully trust. And all interspersed with Cecil’s cheery, meaningless compliments on writing that he clearly isn’t thinking about (or at least is pretending not to understand the subtext of, which is my personal headcanon). 

Honestly I kind of want to do a full textual analysis of Katherine Ciel’s poem (under the cut) alone, because it’s a beautiful piece of writing where it’s so clear how hard the fictional poet is trying to veiledly describe what it’s like to live with Night Vale-typical level of fear and tension and random, unpredictable moments of surreal violence. The way people become numb to the horror (“Many find it difficult to breathe/without the atmosphere,/but we knew how;/we just stopped breathing”) but also the way that same numbness cuts them off from other people and makes intimacy with others into a terrifying, monstrous thing. And Cecil reads this as a traffic report. I am trying SO hard not to write a whole essay about this. 

But my favorite thing about “Poetry Week” is that it’s no more disturbing than any other Night Vale episode. Same humor, same beautiful prose, like it’s not on a different level than the rest of the show and I can and often do listen to it as just one more soothing, funny WTNV episode. Which is fun because it’s a meta-parallel to how in-universe Poetry Week is a fun community event to bring the town together, but also a rare and precious opportunity for tacit protest against an oppressive regime.

And I just… this podcast is so good, you know? Man. It’s so good. I want to eat it.

On Sunday, a lambent crevice

opened up in the street outside my house.

By Tuesday, birds were flying into it.

“I probably won’t miss you,” my mother said.

“I’m only interested in the end of the world,” I replied.

Many find it difficult to breathe

without the atmosphere,

but we knew how;

we just stopped breathing.

We’re at the Moonlite All-Nite Diner,

and they’re serving up fruit

from the plants growing out of the waitress.

The closed sign whispers, “Please, don’t touch me.”

We watch bodies fall to the ground outside

like deep sea creatures surfacing.

You turn to me and ask,

“Do you ever think about suicide?”

I look away from you and close my eyes,

eat the raspberries to confuse the blood in my mouth.

Now you’re in the only car in the parking lot at midnight

and you’re watching me throw stones at the moon

which hangs low in the sky

so that he can look into your house.

Your sister tried to touch him

from her window once,

and he flinched.

Now he and the oceans watch her with a quiet concern.

The lilac sky is trying to rest her head on his shoulder,

all trees gradually growing through her.

A hummingbird whispers to you,

“Be careful. Under her dress is her skin,”

and then builds his nest in the middle of the highway.

I look back to you,

and you close your eyes.

[justhistoryofus]

I'm still a bit new to this whole thing, but I'm thinking things through and I like to structure them. I do it mostly for myself, but why not share it now that the work is done? While researching the different interpretations of Dean and Cas' relationship, as well as the different views within the "shipper wars" that seem to be going on in the supernatural fandom, I came across statements like: "Just would like to point out that no one destiel shipper is a dean girl…". The argument is simple - if you know Dean, you know that he cares about Sam the most. So no one but Sam can fill that vacant spot in his heart. I felt like that wasn't a fair accusation to those whose favorite character is Dean and who share the destiel interpretation. I can't say that I fully share the vision of Cas and Dean's relationship as purely romantic, but I was interested in answering the question for myself as to why Destiel is so popular, if, based on the logic of the above statement, fans should understand that a place in Dean's heart is occupied. In this small diagram (which, of course, cannot cover all the nuances of my and others' thoughts), I wanted to structure for myself how our fan desires are formed regarding the fate of Dean Winchester (during the series or in the post-finale). In the part about Wincest, I write a little about my vision of this ship (although I try to avoid value judgments), but I want to note that I am not fighting with anyone. This is just a small remark that seemed appropriate to me. In the rest, I was more interested in the process of forming our fan expectations and desires.

P.S. In this analysis I do not take into account two issues: 1. For Wincest, the problematic issue for many is that Sam and Dean are brothers. 2. The fact that we have no direct textual confirmation that Dean can be bisexual. These issues are indirectly related to the problematic that I am considering (for example, the fact that many people cannot see Wincest because there is a cultural taboo on incest that we cannot cross, or we consider Dean a reliable narrator about his straight orientation and cannot consider the possibility of his reciprocity with Cas). But this is not the main topic, so I will leave it out.

(I am not a native English speaker, it is my second language, so please do not judge me harshly if something is wrong)

[newvegascowboy]

I'm also a lifelong fallout fan. I have fond memories of playing Fallout 3 and New Vegas with my brother, taking turns with the Xbox controller, but I do wish bethesda had kept up with the themes of the original games. There are some critiques happening with Rob-co and Vault-tec, etc, and how they hurt people, but Fallout 4 in particular was very "AMERICA FUCK YEAH" which is just not what fallout is.

If I were to direct it, I would have changed so much of it tbh.

Speaking of fallout being gay, how much queer representation do the games actually have? Because I can't think of any off the top of my head. It's been years since I've played any of them tho

I relate to that a lot! My first exposure to the fandom was watching my brother play 3 when i was a kid. Then I played it myself as a teen in prep for 4, which came out right after my birthday. Fo4 is probably the only game i have 1000+ hours in, so all my critique comes from a place of genuine love.

And to answer your question: not a lot. I can think of 4 character in fnv: Arcade Gannon, Major Knight, Corporal Betsy, and Jimmy, the former legion slave. I guess if we're being generous, that Legionary as well and Cass, considering her one controversial voice line. Not counting the courier, because the bisexual perks are totally optional.

Im not counting any of the fo4 companions as queer. I dont think a character being playersexual is bad ir problematic, but i also dont consider it canonical representation. None of them ever mention having a past same sex lover, and the only lovers ever mentioned are opposite sex, in the case of Maccready, Deacon, Nick, (and i dont want to list all the fridged wives). You could view Danse's relationship with Cutler as being homoerotic, and i headcanon that as well, but there is no textual evidence to base that analysis. Again, not counting the sosu because all queer relationships are optional, and you can go through the whole game without running into anything overtly queer. I guess there are a few unnamed couples in settlements (county crossing and oberland station) that are implied to be queer, but again. Nothing overt.

Not to mention, KLEO's "Im a woman baby" and Deacon being a woman are played for jokes, so. I think Beck in 76 is nonbinary and uses they/them (yayy fellow nonbinary) but i dont know much about 76 to say for sure. I guess that's progress.

[maglors-anion-gap]

I've been mulling something over lately. It's almost a given that one will find questionable elements to older texts; some are overt and some sneaky even to the modern eye. There are, undeniably, many such elements in Tolkien's work, and they cause a lot of trouble for marginalized readers and for fan creators grappling with it in relation to meta and fic.

That the Silmarillion is a largely-omniscient myth-text narrative, composed from a variety of drafts, the discarded versions of which we also have access to, further compounds the issue. Who has read what? Who samples from what? How deeply do some themes pervade both the text and the fandom? There are discarded portions that raise eyebrows (and thankfully, were edited out at some point). However, there are moments where those discarded portions shine through the cracks in exposition, dialogue and reasoning left in the official composite text by the sweeping style of the narrative. The composite can be seen to still rest on certain narrative and valuational presuppositions of Tolkien's - presuppositions he assumes the reader to share.

In the text, of course some have value or more of it, some have honor or more of it, some overcome darkness while some naturally succumb to it. The narrative certainty in these characterizations rests on these lurking (racist, antisemitic, ableist) presuppositions, and in some cases handwaves any deeper exploration or explanation.

There seem to be two fan solutions to reckoning with a cross-draft-consistent bigoted theme. 1) Write meta that explores its traits and manifestations in the text and syncretizes canon assertions with authorial biases, and/or fic that directly addresses the in-text impact of these biases. 2) With an awareness of the bigoted themes, create headcanons, new verses, and fic that subverts, rewrites, or negates the original theme. The former refuses to allow the presuppositions of the text to become the presuppositions of the fandom. The latter allows (particularly marginalized) fans generative space, fodder to create anew, breathing room, and expanded perspectives. Different functions, parallel purposes, both important.

Because it's fandom, and it's large, and our idea of on-the-side fun and not our job or our marriage, we do not have the same preferences for how we go about dealing with these textual issues or the cohesive pressure to be like minded (even as we recognize the need to deal with them). One person's way of reckoning with textual biases or gaps may strike another as reaching too far from canon to be of appeal. This is a common reaction to headcanons, canon divergences and alternate universes, and crack or humor, particularly in the tolkien fandom. However, personal preference is not a basis for asserting that someone is reading the text wrong, especially when the issue at hand is one of reparative analysis and creation.

I am drawn to the issue of the Petty Dwarves. Most information on them comes in pieces from disparate drafts and satellite texts. Some information was erased entirely from the published Silmarillion. However, many people have noted the continual issues in Tolkien's treatment of the Dwarves, the iterative issues with his treatment of the Petty Dwarves, and rightly begin to link the two, plumb them down to their connecting factor, and begin excavating the silences in the narrative which Tolkien allows to be filled by presupposition.

I have found that people who cite personal preference may bring up canon elements to excuse or disprove certain readings; I would argue that the canon elements cited are less often exculpatory of our faves and more often proof of deeper biases, proof of biased presupposition as a stand in for rich characterization. Let me explain. We hear from the Sindar that the Petty Dwarves are reclusive, aggressive, and territorial (on this they base their initial assessment that the Petty Dwarves are two-legged animals for hunting). We hear from the Dwarves who cross the Blue Mountains later that the Petty Dwarves descend from expelled Dwarves who were the smallest, weakest, most conniving and self-serving, and violent persons. At one point, Tolkien describes the Petty Dwarves as older residents in Beleriand than both the Sindar and the eastern Dwarves, and the original inhabitants of Nargothrond, and it is them who Finrod hires to finish its construction. Tolkien describes the Petty Dwarves as agreeing to do this under false and duplicitous pretenses (for what reason, he doesn't say); later, Mim tries to kill Finrod (again, the narrative is sparse on motive), and Finrod alternately outs the Petty Dwarves from Nargothrond or pays the other Dwarves to turn them out. Tolkien evidently means for this to paint a picture of a group of people who are inherently wicked, cannot help but be so, are hated and pitied (for one does not preclude the other, and all good people should pity bad people, after all), and bring about their own diminishment. There's the in-universe justification for it.

I mean to explore why it is not satisfactory to leave the matter alone at "the Petty Dwarves brought about their own downfall." To begin, why does Tolkien rely on the characteristics he does when describing both the Petty Dwarves and Dwarves in general? These are multiple pieces of bigotry at play, chiefly some old antisemitic stereotypes (which have already been unpacked at length and by Jewish fans who are more knowledgable than I; if other have more to add, please do so). But I will give it a try.

First, Tolkien never pins down why the Petty Dwarves are expelled westward, only vaguely pinning it on their inborn characteristics. One old piece of antisemitism held that Jewish people were smaller and weaker than gentiles; Jewish men are still held to be less masculine, which can be traced from a medieval supposition that Jewish men menstruated. Coupled with the ableism of expelling the stunted and the inutile, Tolkien describes here a sort of itinerant and pitiful scrounger who does not belong in a society to which it cannot contribute and into which it cannot assimilate. The concept of vagrancy and the homelandlessness (consider the antisemitism in the concept of the cosmopolitan Jew, and Tolkien's deliberate linkage of Dwarves and losing their homes), is further connected to antisemitism by the Petty Dwarves being duplicitous, self-serving backstabbers toward Finrod, who Tolkien sets up as innocent and trusting enough to sleep unguarded near Mim, further juxtaposing the two. Furthermore, the gentile assertion that Jewish people are violent is escalated to accusations of blood libel and sorcery. Tolkien may not go that far, but he ties this predisposition for violence into the passage about Nargothrond, and their territorial defensiveness and their aggression toward the Sindar. Jewish people have long been stereotyped as insular, traditional, and cold to outsiders (consider the gentile furor over "goy"). All of this passes under the surface of the text - where Tolkien does not elaborate, this rises to the surface to color the reading.

When fans identify these elements in the text (and realize they are very similar to Tolkien's handling of the Dwarvish sacking of Doriath, or gold sickness, or Dwarvish isolationism as a whole), they begin to investigate the places they show up in text. The meta they write must try to syncretize the canon of what is said with the authorial context applied in the characterization. The fic they write must try to fill in lazy gaps left, and to imagine and then confront the missing exigence to the conflict while refuting the antisemitic presuppositions upon which the text relies in place of characterization.

Because it's fanwork, some people may have concepts that you think miss the mark or push further with assertions than you think is logical. However, no one who is in good faith creating, exploring, or trying to remedy the issues of the text, can be accused of using their ideas as a cudgel against canon or against others. Discussion is welcome, when it is conducted in good faith as well.

Relying too heavily on the surface-level assertions of canon to shoot down these musings at times verges upon what I have described above: leaning into the in-world justifications of hierarchy and subjugation to excuse the real-world hierarchies upon which these presuppositions are built. It is not so important how or when the Sindar realized the Petty Dwarves were people: what matters is that Tolkien created a character group, designed to be hated and pitied but never respected, onto whom he mapped real world stereotypes, and set them up in events where these stereotypes lead. It's highly worth considering why we are defending portions of text that are inherently bigoted. The whole broth here is the issue, but people are quibbling over whether they've fished out a potato versus a turnip.

[sag-dab-sar]

📚Websites & Books for ANE Study📚

For the Ancinet Near East with a focus on religion. Plus some translated ancient texts and random articles.

This post has gone through like 12 revisions so reblogs will look different opps.

Please leave a comment if a link breaks I'll do my best to find a new one

Getting Started On Research

JSTOR Guide LINK

Lumenlearning Guide LINK

Center for Online Education Guide LINK

Layman's Guide to Online Research by @/sisterofiris LINK

How to Vet Sources by me LINK

Websites for ANE Study

ETCSL | The Electronic Text Corpus of Sumerian Literature — http://etcsl.orinst.ox.ac.uk/catalogue.htm

ePSD | The Electronic Pennsylvania Sumerian Dictionary — http://psd.museum.upenn.edu/epsd-frame.html

ORACC | Open Richly Annotated Cuneiform Corpus — http://oracc.museum.upenn.edu/

ORACC's Mesopotamian Gods and Goddesses Project — http://oracc.iaas.upenn.edu/amgg/abouttheproject/index.html

ETANA | Electronic Tools & Ancient Near East Archive — http://etana.org/

CDLI | Cuneiform Digital Library Initiative — https://cdli.mpiwg-berlin.mpg.de/about

CAD | The Assyrian Dictionary of the Oriental Institute of the University of Chicago — http://www.aina.org/cad.html

Livius' Babylonian Section — https://www.livius.org/category/babylonia/

Avaliable Online Books

When using older books be aware that there may be inaccuracies and out of date information. If at all possible cross-reference and synthesize with newer materials. I have added years for this reason.

How to Use Internet Archive Library — Link

Books Specifically on Religion

Leick & Black's dictionaries are good starting off points but I always use additional source's because some of Black's info and Leick's info in particular tends to be more out of date than other authors. Frayne's Dictionary is very new and updated. I use these 3 in combo often.

Gods Demons and Symbols of Ancient Mesopotamia by Jeremy Black and Anthony Greene (1992) Internet Archive

Ancient Near Eastern Mythology by Gwendolyn Leick (1991) Internet Archive

A Handbook to Gods and Goddesses of the Ancient Near East by Frayne and Stuckey (2021) Internet Archive

From Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources by Asher-Greve and Westenholz (2013) PDF

The Cultic Calendars of the Ancient Near East by Mark Cohen (1993) PDF

Preforming Death Social Analysis of Funerary Traditions in the Ancient Near East and Medditarian edited by Nicola Laneri (2007) PDF

Mesopotamian Ritual-prayers of “Hand-lifting”(Akkadian Šuillas) by Christopher G Frechette (2012) Internet Archive

When Gods Were Men: The Embodied God in Biblical and Near Eastern Literature by Esther Hamon (2008) Internet Archive

Books on ANE History in General

Handbook to Life in Ancient Mesopotamia by Stephen Bertman (2005) Google Books | Not avaliable online BUT highly recommended, easy read.

A History of the Ancient Near East ca. 3000- 323BC by Marc Van de Mieroop (2016) Internet Archive

Everyday Life in Ancient Mesopotamia by Jean Bottero (1992) Internet Archive

Women in the Ancient Near East by Marten Stol (2016) Open Access

Chapter 3 Elamite from The Cambridge Encyclopedia of Ancient World Languages edited by Roger Wooard (2004) PDF

Sumerian Art by Andre Parrot (1970) Digital Library

The Greek Magical Papyri in Translation, Including the Demotic Spells edited by Hans Dieter Betz (1986) PDF (If that link breaks Google Books)

Translations

The Harps That Once by Thorkild Jacobsen Google Books

The Project Gutenberg Sumerian Liturgies and Psalms by Stephen Langdon PDF

Project Gutenberg's Sumerian Hymns, by Frederick Augustus Vanderburgh LINK

Ancient Near East Anthology of Texts and Pictures edited by Pritchard 1st Edition Internet Archive

A Hymn to Tammuz (Cuneiform Texts from the British Museum, Tablet 15821, Plate 18) J. Dyneley Prince (1909) JSTOR

Ludlul Bel Nemegi by Alan Lenzi the Akkadian "Poem of the Righteous Sufferer" LINK

The Flood Myths LINK

Enūma Eliš Translations: L W King Translation 1902 LINK | ETANA Translation LINK | Composite Translation LINK

Code of Ur-Nammu LINK

Code of Liptin Ishtar LINK

Articles

Random Assortment Because Mobile Link Limit

The Mesopotamian Pandemonium by Frans Wiggerman LINK

Phenomenon of God-nap in Ancient Mesopotamia A Short Introduction Erika D. Johnson LINK

Preforming Death Social Analysis of Funerary Traditions in the Ancient Near East and Medditarian edited by Nicola Laneri LINK

New Year Ceremonies in Ancient Babylon: 'Taking Bel by the Hand' and a Cultic Picnic Religion Jeremy A Black LINK

Tablet of Destinies and the Transmission of Power in Enūma eliš by Karen Sonik LINK

Theology and Worship in Elam and Achaemenid Iran by Koch LINK

The Four Winds and the Origins of Pazuzu by Frans Wiggermann LINK

Evil against evil. The Demon Pazuzu by Nils P Heeßel LINK

New Readings in the Amarna Versions of Adapa and Nergal and Ereshkigal by Shlomo Izre'el LINK

Sumerian Texts Involving The Netherworld and Funerary Offerings by Jeremiah Peterson LINK

The Origin of the Mystical Number Seven in Mesopotamian Culture: Division by Seven in the Sexagesimal Number System by Kazuo Muroi LINK

Athirat: As Found at Ras Shamra Justin Watkins LINK

[alfredsolos]

hey, you know how you did a review (basically) of colin’s character and kinda outlined or corrected any misinformation ppl make ab him (like that he’s Jon kent 2.0?) (idk how to explain- character study??? u just explained him rly well with good textual evidence)

anyways~

do you think u could do something like that for Maya Ducard? like, clear up any misconceptions ppl have ab her character and such? i want to write her but i don’t have the ability to read the comics/don’t rlly want to anyways.

Alright! Before going into a character analysis, let's talk about Maya's story. Who is Maya Ducard?

Maya Ducard is a vigilante/hero called Nobody. She is the second person to take up that mantle. The first Nobody aka Morgan Ducard aka Maya's father, was killed by Damian Wayne in Batman and Robin.

Maya finds the remains of her father's corpse beneath the sea and watches the clip of Damian killing her father. So to take revenge, she goes after Damian to kill him.

But during that time, Damian goes into a redemption trip where he tries to undo the damage he did when he was an assassin.

During on of those missions, Maya and Damian cross paths and she tries to kill him. But when she finds out that he was on a redemption trip, she decides to go with him and ensure that he is doing what he's supposed to. And she tells him that in the end she'd kill him.

Damian let's her tag along and they go on adventures together, growing closer and closer. And in the end, Maya forgives Damian.

Now, going back to the topic. Coming across Maya fics are harder because there are too few. So I don't really know how the fanon portrayes her.

I do know that most of the time she is portrayed as a supportive big sister, which is true but she is also so much more. So in this post I'll give out some facts about her and explain her character using canon panels.

****

1. Maya does not like the idea of innocents dying:

Even when she was trying to kill Damian, she interrups her plans to save the innocent people. This tells us that she indeed has a pure heart. Along with her potential to be a hero.

2. She knows how to get inside someone's skin:

During the times where they have a temporary ceasefire, Maya does not hold back from hurting Damian with her words and trying to get under his skin. This tells us that whoever her target is, she will do proper research on them and make sure to know them on a personal level. Which makes her dangerous.

She has a sharp tongue, so don't forget to apply this trait of hers on your fics!

3. Abilities?

Maya does not have any super powers. But she does have a super suit with numerous abilities. The most prominent ones being: Invisibility, sonic boom devices that are built into her hands, a device that distorts people's eyesight. She is also a very skilled fighter.

Another very important thing to note is that, her father wasn't the one who taught her how to fight:

She learned how to fight by herself, watching her dad from the shadows. Which indicates amazing strategic and martial ability. Not to mention how she tracked down Damian and manage to hold her own against him.

4. At first these two did not get along:

And by that I mean, they did not get along.

They did not fight due to the ceasefire. But the things they said to each other? Ouch.

5. Maya loves Goliath:

Before and after trying to kill Damian, Maya always loved Goliath. She even tried to take him away from Damian at one point.

Goliath also loves Maya very much, risking his life for her countless times.

6. Along with her hate for Damian, she was also jelaous of him:

One, he had a family that gave everything to him. Two; while her father never taught her anything, he took in Damian and taught him special moves and trained him. And due to this she naturally had a bit of envy of him.

7. Maya was still adament to kill Damian when they started to get along:

This didn't last that much, but in her mind it was some kind of divine justice.

8. Damian saved Maya from Deathstroke:

After Maya quit trying to become an assassin and killing Damian, Deathstroke came after her. But Damian basically pays her off and gives Slade 5 million dolars to stop trying to kill her. Surprisingly it works.

But Maya doesn't understand why he did this. She calls herself worthless and with this, we can get that she has very low self esteem and self-deprecating thoughts.

9. She is more laxed, compared to Damian:

As you can see, she does not shy away from resting unlike other assassins who do not stop until they complete their plans.

10. She has never killed anyone:

Even before or after Damian, she has 0 body count. She never killed or kills anyone in the future. This fact is the reason why Damian let Maya come with him after she tried to take him on. He knew that she wouldn't be able to do it.

11. Damian has a habit of calling her 'chica':

It's obvious that he does this to annoy her. But we can use this in the fanon as Damian annoying Maya by calling her chica

12. Damian gives Goliath to Maya:

After the redemption trip and Maya forgiving Damian, he tells her to take Golaith with him. Maya refuses and tells him that Goliath belongs to him. But Damian answers with:

Goliath ends up staying with her.

13. Damian shies away from asking Maya for help:

After the redemption arc, Maya settles in and is actually happy. Damian sees this and hesitates to ask for her help.

As you can see, this happens multiple times. Which is cute, to see Damian being shy. Maya could be the only person who makes Damian feel like that.

14. Maya gains a brother:

After forgiving Damian for killing her father, she tells him that he has gained a new sister. Which means a lot because this shows that blood isn't what matters, but love. Seeing Damian accept and love her, destroyes the 'blood son' argument.

15. Maya hates the al Ghul's:

She tells Talia that she hates all the al Ghuls, besides Damian. She also goes on to tell her that she is a horrible mother. And by that, she really goes all out.

16. She kidnaps Jon Kent:

We all know that Damian met Jon by kidnapping him. But the thing is, he wasn't alone! Maya also helped him to kidnap Jon.

****

Anyways, these were my intrepretation of Maya Ducard's character from her canon interactions. If anyone wants to add onto these, please feel free and thank you for the ask!

[gavroche-le-moineau]

On the word "misérable"

What does Les Misérables mean? As in English, misérable can be an adjective meaning "miserable, destitute, wretched, pitiful, meager, poor, etc." Unlike in English, it can also be a noun. The translation for the singular noun is typically "wretch" and this is almost always how Hapgood translates the word, so if you're interested in close textual analysis, keep an eye out for this word and then cross-reference with the French, as it's likely an occurrence of the titular "misérable."

The title, with a definite article and plural noun, can be translated into English as perhaps "the destitute, the unfortunate, the wretched."

I noticed that in the final few chapters of the book, the word misérable, especially for Jean Valjean, started appearing more frequently than usual. I put together a spreadsheet of all the uses of the singular noun to see which characters the book most often refers to as a "misérable." As you can imagine, it's not extremely cut and dry, but Jean Valjean is indeed the character most described as a "misérable," and, importantly, in large part by himself. The narrative does refer to Jean Valjean as a misérable a number of times (~4 that I counted) but he refers to himself as one ~8 times throughout the novel. Tome I: 2 times, Tome II: 1 time, Tome IV: 2 times, Tome V: 3 times.

One of biggest tragedies in Les Mis to me, is that Jean Valjean truly believes in his own wretchedness which the social system has cast upon him, despite all of his good deeds and good will.

[itwoodbeprefect]

For the fic writer meme, 1, 10 and 38?

1. Describe your comfort zone—a typical you-fic.

character A is doing the dishes and character B says something slightly out of the blue that sounds silly at first glance, and A goes "huh what, what are you talking about, i'm doing important things (the dishes)" and B says something that puts their first statement in a slightly different light and now it's suddenly tantamount to a love confession. A is struck dumb. B helps them dry the dishes. all is well (and domestic, and full of love, and optionally there's a kiss).

-

10. Which fic has been the easiest to write?

in recent memory, almost definitely 3 AM, the time when most people die, because it came out more or less fully formed.

before that probably Mr. Blandings Builds His Dream Throuple, another one-off fic for a movie, which suggests that the optimal recipe for Easy Fic Writing for me is... watching movies that are not overtly queer but have heavy subtext, and then keeping my fingers crossed i get attacked by an urge to hit pause and spit out 1-2k of fic i can immediately copy-paste into the ao3 new fic page? admittedly this plan doesn't feel foolproof.

-

38. Talk about a review that made your day.

there are so many!!!

a particular one i still think about frequently (and have told people irl about) is by yessireebob on ao3 (@theartichokesarepurple here) on When the pretty birds have flown, where she wrote a very sweet compliment and then:

Also this line: You can’t settle for the best thing that’s ever happened to you" after Hutch says they should give up reminded me of this line: "This is exactly what Starsky does to him: Hutch puts in so little, a dime in the grand scheme of things, and Starsky takes it without asking and flips it over and when he hands it back to Hutch, it’s a million dollars" from Ten Cent Love which is probably a coincidence but I find really cool and also telling of your wonderful characterization.

which is the first time anyone has ever quoted a line from a different fic of mine while paying a particular story a compliment, and i think it's incredible. this is web weaving, it's textual analysis. it speaks to a level of attention and thought while reading that's very very flattering, and this is definitely not a connection i would ever have made (between these sentences, or even these two fics), which is also super fun! i get a glimpse of a new perspective!

so!! many many thanks and many compliments on your compliments, @theartichokesarepurple. <3

[dv230]

Blog post #8 due April 10th

How does Ian Bogost argue that Animal Crossing reflects political ideologies?

Ian Bogost challenges the widespread belief that Animal Crossing is an innocent form of digital escapism. Instead, he claims that the game subtly reinforces values such as self-reliance, consumerism, and debt. In the article "Animal Crossing Isn’t Escapist; It’s Political, The Atlantic," Bogost states that “Even though it can function as escapism, Animal Crossing isn't a fantasy-world replacement from real life, absent all its burdens.” . The game presents a vision of society where players willingly enter into debt with Tom Nook and then spend countless hours working to pay it off, reflecting a normalized cycle of economic obligation. Implying that even virtual worlds marketed as relaxing are reflections of real-world political and economic ideologies.

2. What role did social media play in the Arab Spring according to Christian Fuchs?

Christian Fuchs offers a critical analysis of the role social media played during the Arab Spring, rejecting simplistic narratives of a “Twitter Revolution.” He emphasizes that while platforms like Facebook and Twitter helped mobilize protests, they were part of a broader ecosystem of communication and resistance. In the article "Communication Power and the Arab Spring" by Fuchs he states, “The media are not the only factors that influence the conditions of protest - they stand in contradictory relations with politics and ideology/culture that also influence the conditions of protest..” He warns that these platforms are owned by corporations, which means they can not only create resistance but also be the force that restricts movements. This is something we have seen over the past months with Elon Musks purchase of twitter, now known as X.

3. How does Sandor Vegh categorize online activism and what examples does he provide?

Vegh divides online activism into three key categories: awareness/advocacy, organization/mobilization, and action/reaction. These stages illustrate how digital tools may be used to improve traditional activism. For example, during anti-globalization protests, activists used the internet to coordinate international demonstrations efficiently and affordably. In the article "Classifying Forms of Online Activism, in Cyberactivism: Online Activism in Theory and Practice", Vegh explains, “Only the Internet allows an activist to distribute a message to thousands of people all over the world at once.” He also explores more aggressive forms of protest, such as “virtual sit-ins” and “hacktivism,” like the Electronic Disturbance Theater’s FloodNet tool used to disrupt websites. These methods demonstrate how activists can repurpose digital tools for political protest.

4. How does Latoya Lee describe Black Twitter’s role in resisting racial bias in media?

In her article "Black Twitter: A Response to Bias in Mainstream Media, Social Sciences", Latoya A. Lee argues that Black Twitter functions as a “digital homespace,” a space used as a tool for black women and men to (re)construct their bodies and identities offering a collective, cultural response to racism and bias in mainstream media. Lee also states that through “Textual poaching as resistance,... the user produces content that challenges dominant (oppressive) cultural ideologies and norms, including racial bias” Through hashtags like #IfTheyGunnedMeDown and #APHeadlines, users create counter-narratives to reclaim Black identity and critique injustice. These hashtags force institutions to recognize implicit bias; for example, the Associated Press reworded a problematic tweet about the killing of Renisha McBride after backlash on Twitter. Black Twitter, according to Lee, is not only reactive but also strategic and community-driven, using humor, satire, and solidarity to challenge dominant narratives.

Works Cited

Bogost, Ian. Animal Crossing Isn’t Escapist; It’s Political, The Atlantic, 2020.

Fuchs, Christian. Communication Power and the Arab Spring, 2013.

Vegh, Sandor. Classifying Forms of Online Activism, in Cyberactivism: Online Activism in Theory and Practice, 2003.

Lee, Latoya A. Black Twitter: A Response to Bias in Mainstream Media, Social Sciences, 2017.

[iwritenarrativesandstuff]

I don’t usually make posts like this but guys can we please please please check what we’re reblogging for misinformation

I really do think that the biggest part of activism is rationality, and making sure that what we are spreading around is factual. Outrage is one of the easiest things to take advantage of for people looking to spin their own narratives.

As someone who fact checks and cross-references academic papers for a living and also isn’t exactly a slouch when it comes to textual analysis, here’s some really easy ways to double check what you’re posting:

Check the original blogger and look through a couple of their top posts. Generally, you’ll be able to see some of the sentiments they hold. I know I narrowly avoided reblogging something from a transphobe just by doing this

Check for sources. If there are no sources, don’t reblog, or find a reblog that has sources, or reblog and add your own.

Just because a post has one source: that’s not typically good enough. Try to find at least three if you can. Cross-reference!!!

Look at where your sources come from. Check the reputability literally by typing in “is [source name] reputable?” if you don’t know. Generally you’ll want newspapers, journals, websites dedicated to the topic in question. Avoid sourcing only from social media - though, as we know, there are certain situations where we need to be taking into account the voices of individuals when supposedly unbiased sources refuse to publish their perspectives, or diminish their experiences with coded language.

Check to see if any quotes are carefully edited or taken wildly out of context. People love making sensation out of moderate statements. People also love passing around catchy soundbites.

Check the publisher and the source of funding. Usually you can find it at the bottom of a website page or in the funding section of an article. There are quite a few studies on the benefits of eggs and milk sponsored by the dairy council in my country. While this doesn’t necessarily mean the science or information is completely bogus, you may want to be slightly skeptical about the motives of the research or report. Who does this research/article benefit?

Listen to what people are telling you who are directly involved. This should go without saying. You should always strive to be a better listener than a louder speaker, even if both are important. We are here to support those who need it and to pass along their words and send aid where we can. They do the talking. We provide the reach. Don’t be a saviour.

On that note, do you act in solidarity with the victims, or are you more interested in having a “legitimate” reason to get angry? Your investment should come primarily from compassion. Not hatred.

On that note again: are you interested in maintaining the narrative you understand, or are you willing to listen to views that may conflict with the story you’ve understood up until this point? The mark of good judgement (and good science, fyi) is to be able to reevaluate when faced with conflicting information. (The psychological concept is assimilation vs accommodation of new information, if you’d like to look into that.) You are not immune to propaganda just because you’re on the morally “right” side (and if you find yourself thinking this way, I would delicately suggest that you see if, perhaps, you are already caught up in it - “us vs them” mentality is a prime breeding ground for hateful sentiment and misinformation).

Last thing: sometimes you’re going to find things that are really hard, if not impossible to confirm. Exercise your own judgement. Sometimes it comes down to trust and compassion. That’s human nature. Sometimes we’ll get things wrong, or fall for misinformation, or learn more information later that changes things. That’s good. Being open to change is actually far more important than getting things “right”.

Final note: sometimes people get really caught up in trying to prove a claim that doesn’t really change the main situation. For instance, I don’t particularly care if there are “bad” individuals in a situation where an entire group of people are being murdered en masse. There are bad people everywhere, my dude. Ask yourself whether certain claims are meant to hinder discussion of what really matters in this moment. Keep your focus, keep your compassion, keep your ears open, and do your best not to get sucked into the outrage vortex. I know it’s hard, but you’re going to do so much more good for the people most in need if you remember that misinformation is how voices get swallowed up and lost - because their narratives are overtaken by someone else’s. Please, if nothing else, don’t be reactionary.

[aboutanancientenquiry]

"BMCR 2009.10.48

Ancient Greece and Ancient Iran: Cross-Cultural Encounters. 1st International Conference (Athens, 11-13 November 2006)

Seyed Mohammad Reza Darbandi, Antigoni Zournatzi, Ancient Greece and Ancient Iran: Cross-Cultural Encounters. 1st International Conference (Athens, 11-13 November 2006). Athens: National Hellenic Research Foundation; Hellenic National Commission for UNESCO; Cultural Center of the Embassy of the Islamic Republic of Iran, 2008. xxix, 377. ISBN 9789609309554. €60.00 (pb).

Review by

Margaret C. Miller, University of Sydney. margaret.miller@usyd.edu.au

[Authors and titles are listed at the end of the review.]

The volume commemorates a landmark occasion, when the national research centres of Iran and Greece collaborated in a multi-national interdisciplinary conference on the history of exchange between Iran and Greece. Its nearly 400 pages reflect a strong sense of its symbolic importance. Papers span the Achaemenid through the Mediaeval periods and address the theme of exchange from the perspective of many disciplines — history, art, religion, philosophy, literature, archaeology. The book thus brings together material that can be obscure outside the circle of specialists, and in a manner that is generally accessible; the wide range of topics and periods included is a strength. Excellent illustrations often in colour enhance the archaeological contributions, as does inclusion of hitherto unpublished material.

The volume commences with a brief section on what might be called Greek textual evidence (Tracy, Petropoulou, Tsanstanoglou), followed by papers on interaction in Sasanian through mediaeval Persia (Azarnoush, Alinia, Venetis, Fowden), four papers discussing Achaemenid, Seleucid and Parthian history (Weiskopf, Ivantchik, Tuplin, Aperghis), aspects of the archaeology of Persepolis and Pasargadae (Stronach, Talebian, Root, Palagia), and ends with essays on the receptivity to Achaemenid culture in the material culture of the western empire and fringes: Cyprus, Turkey, Greece (Zournatzi, Lintz, Summerer, Paspalas, Ignatiadou, Sideris, Triantafyllidis), followed by a paper on traces of Greek material culture in the archaeology of (Seleucid) Iran (Rahbar). The wealth of vehicles, contexts and levels of exchange attested through the ages is both eye-opening and exciting. While there is unfortunately little attempt at globalizing synthesis or theoretical modelling, the analytical methods and collections of data in the individual contributions will aid future work in the area.

Stephen Tracy starts the volume with a synchronic analysis of the ways in which first Aeschylus, then Homer, play upon the prejudices of their audience against ” barbaroi” and then show the human quality of the enemy. In Persai, the Athenians are anonymous in contrast with the delineated personalities of the Persian royal family; in the Iliad, Achilles is “not very likeable” but learns humanity from the sorrow of Priam. Both poets focus on common humanity that transcends short-term hostilities.

Angeliki Petropoulou offers a detailed analysis of Herodotus’ account of the death of Masistios and subsequent mourning (Hdt. 9.20-25.1). Herodotus played up the heroic quality of Masistios’ death, stressing his beauty and height, qualities appreciated by both Greeks and Persians. The fact that Masistios seems to have gained the position of cavalry commander in the year before his death, coupled with the likelihood that his Nisaian horse with its golden bridle was a royal gift, suggests he had been promoted and rewarded for bravery.

Kyriakos Tsantsanoglou discusses the Derveni papyrus’ mention of magoi (column VI.1-14). Though the papyrus dates 340-320, the text was composed late fifth century BC, making the apparently Iranian content especially important. Both the ritual described and the explanation for it cohere with elements known from later Persian sources as features of early Iranian religious thought. While the precise vehicles of transmission of such knowledge to the papyrus are unknowable, the papyrus is the first certain documentation of the borrowing of Iranian ideas in Greek (philosophical) thought.

On the Iranian side exchange of religious ideas is documented by Massoud Azarnoush in the iconography of a fourth-century AD Sasanian manor-house he excavated at Hajiabad 1979.1 Moulded stucco in the form of divine figures included dressed and naked females identified with Anahita. The very broad shoulders of the Hellenistically dressed Anahita fit an Iranian aesthetic; the closest parallel for the slender naked females is found not in the cognate Ishtar type but in the Aphrodite Pudica type. Reliefs of naked boys, of uncertain relationship with Anahita, have attributes of fertility cult in the (Dionysian?) bunches of grapes they hold and in the ?ivy elements of their headdress.

Sara Alinia offers a brief but fascinating account of the development of state-sponsored religion hand-in-hand with state-sponsored persecution of religious elements that were deemed to be affiliated with another state: the Christian Late Roman Empire and the Zoroastrian Sasanian Empire. She documents the rise of religion as a tool of inter-state diplomacy and vehicle for inter-state rivalry; religion was but one facet of the political antagonism between the two.

Evangelos Venetis studies the cross-fertilization between Hellenistic and Byzantine Greek romance and Iranian pre-Islamic and Islamic romantic narrative. Persian elements are found in Hellenistic romance; Hellenistic themes contribute to Persian epics. The fragmentary nature of texts ranging 2nd -11th/14th c. AD and the lack of intermediary texts are serious impediments which may yet be overcome. The Alexander Romance, known in Iran from a Sasanian translation, contributed to the form and detail of the Shahname, as well as to other Persian epics.

Garth Fowden outlines the complex history of the creation, translation, wide circulation and impact of the pseudo-Aristotelian texts on religious thought. Aristotle’s works were translated into Syriac in the 6th c. and in the mid 8th c. into Arabic. Arab philosophers, attracted to the idea of Aristotle as counsellor of kings, updated him. Owing to his remoteness in time, “Aristotle” offended neither Muslim nor Christian. The Letters of Alexander, Secret of Secrets and al-Kindi’s sequel of Metaphysics, the Theology of Aristotle, contributed significantly to the philosophical underpinnings of both Muslim and Christian theology; the last remains an important text in teaching at Qom.

Michael N. Weiskopf argues that Herodotos’ account of the Persian treatment of Ionia after the Ionian revolt constitutes “imperial nostalgia” — the popular memory of how good things were under a past regime, in the context of a new regime. Herodotos 6.42-43, stressing the administrative efficiency and fairness of Artaphernes’ arrangements, allows a reading of Mardonios’ alleged imposition of democratic constitutions (so dissonant with the subsequent reported governing of Ionian states) as imperial nostalgia, to be contrasted with the inconsistent and unfair treatment of the Ionians by the Athenians of Herodotos’ own day.

Askold I. Ivantchik publishes two Greek inscriptions from Hellenistic Tanais in the Bosporos (and reedits a third). Evidently private thiasos inscriptions, they confirm that the city was already in 2nd or 1st century BC officially divided into two social (presumably ethnic) groups: the Hellenes and the Tanaitai, presumably Sarmatians, on whose land the city was founded in the late 3rd century BC. A thiasos for the river god Tanais includes members with both Greek and Iranian names, showing that private religious thiasoi were an important vehicle for breaking down social barriers between the two populations of the city.

Two papers offer contrasting interpretations of the evidence for Seleucid retention of Achaemenid institutions. That there were parallels between structures of the different periods is uncontested; the question is whether the parallels signify a deliberate programme of Seleucid self-presentation as the “heirs of the Achaemenids.” Christopher R. Tuplin argues that acquisition of the empire involved adoption of the Achaemenid mantle in some contexts and maintenance of those structures that worked, but that the balance of evidence suggests no conscious policy of continuation, and considerable de facto alteration of attitude and form. He suggests that the evidence of continuity of financial (taxation) structures — a major part of Aperghis’ argument — is ambiguous, at best. The treatment and divisions of territory, most notably the “shift of centre of gravity” from Persis to Babylonia, argue more for disruption than continuity.

G. G. Aperghis gives the case for a deliberate Seleucid policy of continuation of many Achaemenid administrative practices. He points to the retention of the satrapy as basis of administrative organization; use of land-grants (albeit to cities rather than individuals); continuing royal support of temples; maintenance of the Royal Road system (n.b. two Greek milestones, one illustrated in this volume by Rahbar); the retention of two separate offices relating to financial oversight. He suggests that the double sealing of transactions in the Persepolis Fortification Tablets metamorphosed into the double monogram on Seleucid coinage. Further field work in Iran, like that outlined by Rahbar (see below), will settle such contested matters as whether the many foundations of Alexander had any local impact. At present, Tuplin offers the more persuasive case.

David Stronach, excavator of Pasargadae, gives his considered opinion on the complex nexus of issues relating to the date of Cyrus’ constructions at Pasargadae. Touching upon the East Greek and Lydian contribution to early Achaemenid monumental architecture in stone and orthogonal design principles, Cyrus’ conquest chronology and the Nabonidus Chronicle, Darius’ creation of Old Persian cuneiform, the elements of the Tomb of Cyrus, and new evidence confirming the garden design, he argues that the chronology of the constructions at Pasargadae indirectly confirms the date of the conquest of Lydia around 545.

Mohammad Hassan Talebian offers a diachronic analysis of Persepolis and Pasargadae, starting with a survey of the Iranian and Lydian elements in their construction. Modern interventions include the ill-informed and damaging activities of Herzfeld and Schmidt at Persepolis in the 1930s, the stripping away of the mediaeval Islamic development of the Tomb of Cyrus, and the damage to the ancient city of Persepolis in preparation for the 2500-anniversary celebrations in 1971. Recent surveys in the region compensate to some degree. Talebian urges the importance of attention to all periods of the past rather than a privileged few.

Margaret Cool Root continues her thought-experiment in exploring how a fifth-century Athenian male might have viewed Persepolis.2 Sculptural traits such as the emphasis on the clothed body and nature of interaction between individuals would have seemed to the hypothetical Athenian to embody a profoundly effeminate culture. Yet Root’s study of the Persepolis Fortification Tablet sealings, their flashes of humour and playfulness in their utilisation on the tablets, reveals a world in which oral communication — idle chit-chat — perhaps bridged the cultural divide. She concludes that a visiting Greek might well have learned how to read the imagery like an Iranian.

Olga Palagia argues that the most famous Greek artefact found at Persepolis, the marble statue of “Penelope”, was not booty but a diplomatic gift from the people of Thasos: its Thasian marble provides a workshop provenance. The “Polygnotan” character, seen also in the Thasian marble “Boston Throne,” possibly from the same workshop, suits the prestige of the gift: Thasos’ great artist, the painter Polygnotos, is also attested as a bronze sculptor. A putative second Penelope in Thasos, taken to Rome in the imperial period with the “Boston Throne,” would have served as model for the Roman sculptural versions.

Antigoni Zournatzi offers the first of a series of regional studies documenting receptivity to Persian culture in the western empire and beyond, with a look at Cyprus. Earlier scholarship focused on siege mound and palace design; receptivity can be tracked in glyptic, toreutic, and sculpture. Western “Achaemenidizing” seals may be Cypriote; Persianizing statuettes may reflect local adoption of Persian dress (or Persian participation in local ritual). The treatment of beard curls on one late 6th century head may reflect Persian sculptural practice. Zournatzi suggests that Cypro-Persian bowls and jewellery were produced not for local consumption but to satisfy tribute requirements.

Yannick Lintz announces a project to compile a comprehensive corpus of Achaemenid objects in western Turkey, an essential step in any attempt to understand the period in the region.3 Particular challenges lie in matters of definition, both of “Achaemenid” and “west Anatolian” traits. The state of completion of the database is not clear; one is aware of a volume of excavated material in museums whose processing and publication was interrupted and can only wish her well in what promises to be a massive undertaking.

Lâtife Summerer continues her publication of the Persian-period Phrygian painted wooden tomb at Tatarli in western Turkey with discussion of the different cultural elements of its iconographic programme.4 The friezes of the north wall especially present Anatolian traditions; the east wall friezes of funerary procession and battle (between Persians and nomads) offer a mix of Persian and Anatolian. New Hittite evidence clinches as Anatolian the identification of the cart with curved top familiar in Anatolo-Persian art; it carries an effigy of the deceased. Alexander von Kienlin’s appendix expands the cultural mix presented by the tomb with his demonstration that its Lydian-style dromos was an original feature.

Stavros Paspalas raises questions about the vehicles and route of cultural exchange between the Persian Empire and Macedon through analysis of Achaemenid-looking lion-griffins on the façade of the later fourth century tomb at Aghios Athanasios. He identifies a pattern of specifically Macedonian patronage of Achaemenid imagery also in southern Greece in the fourth century in such items as the pebble mosaic from Sikyon and the Kamini stele from Athens. Enough survives to suggest independent local Macedonian receptivity to Persian ideas rather than a secondary derivation through southern Greece.

Despina Ignatiadou summarises succinctly the growing corpus of Achaemenidizing glass and metalware vessels in 6th-4th century BC Macedon. Three foreign plants lie behind the forms of lobe and petal-decoration on phialai, bowls, jugs, and beakers: the central Anatolian opium poppy, the Egyptian lotus (white and blue types) and the Iranian/Anatolian (bitter) almond. The common denominator is their medicinal and psychotropic qualities; Ignatiadou suggests that their appearance on vessels has semiotic value and that such drugs were used in religious and ritual contexts along with the vessels that carry their signatures, perhaps especially in the worship of the Great Mother.

Athanasios Sideris outlines the range of issues related to understanding the role of Achaemenid toreutic in documenting ancient cultural exchange: production ranges between court, regional, and extra-imperial workshops, not readily distinguishable. The inclusion of little-known material from Delphi and Dodona enriches his discussion of shape types. He works toward identification of local workshops, both within and without the empire, based especially on apparent local preferences in surface treatment. The geographical range of production is one area that will benefit from further international research collaboration.5

Pavlos Triantafyllidis focuses on the wealth of material from Rhodes, both sanctuary deposits and well-dated burials, that attests a history of imports from Iran and the Caucasus even before the Achaemenid period. Achaemenid-style glass vessels start in the late 6th century with an alabastron and petalled bowl, paralleled in the western empire, and carry on through the fourth century. An excavated fourth-century glass workshop created a series of “Rhodio-Achaemenid” products that dominated Rhodian glassware through the early third century. This microcosmic case study brilliantly exemplifies a much broader phenomenon.

Mehdi Rahbar outlines and illustrates archaeological material, some not previously published, that will be fundamental in future discussions of Seleucid Iran. The as of yet limited corpus includes: modulation of Greek forms perhaps to suit a local taste (Ionic capital from the temple of Laodicea, Nahavand, known from an 1843 inscription of Antiochus III; fragmentary marble sculpture of Marsyas?), amalgam of Iranian and Greek (milestone in Greek with Persepolitan profile), Greek import (Rhodian stamped amphora handle ΝΙΚΑΓΙΔΟΣ from Bisotun);6 and Iranian adoption of Greek decorative elements (vine leaves, grapes, and acanthus patterns, for which compare Azarnoush’s stucco).

The volume concludes with a brief overview of ancient Iranian-Greek relations and their modern interpretation by Shahrokh Razmjou.

The inclusion of the texts of the introductory and concluding addresses made on the occasion of the conference in particular allow the reader to comprehend its aims: hopes of exchange in the modern world through assessing exchange in the past. A number of the papers make it very clear that collaboration between specialists of “East” and “West” in both textual and archaeological research could yield great gains for all periods of history and modes of analysis. The conference and its publication, therefore, succeed at a variety of levels.

Editing such a volume must have been a real challenge and it is to the credit of authors and editors that throughout the whole volume, I found only a handful of minor infelicities and typographical errors, none of which obscure meaning.7

Contents: Stephen Tracy, “Europe and Asia: Aeschylus’ Persians and Homer’s Iliad” (1-8) Angeliki Petropoulou, “The Death of Masistios and the Mourning for his Loss” (9-30) Kyriakos Tsantsanoglou, “Magi in Athens in the Fifth Century BC?” (31-39) Massoud Azarnoush, “Hajiabad and the Dialogue of Civilizations” (41-52) Sara Alinia, “Zoroastrianism and Christianity in the Sasanian Empire (Fourth Century AD)” (53-58) Evangelos Venetis, “Greco-Persian Literary Interactions in Classical Persian Literature” (59-63) Garth Fowden, “Pseudo-Aristotelian Politics and Theology in Universal Islam” (65-81) Michael N. Weiskopf, “The System Artaphernes-Mardonius as an Example of Imperial Nostalgia” (83-91) Askold I. Ivantchik, “Greeks and Iranians in the Cimmerian Bosporus in the Second/First Century BC: New Epigraphic Data from Tanais” (93-107) Christopher Tuplin, “The Seleucids and Their Achaemenid Predecessors: A Persian Inheritance?” (109-136) G. G. Aperghis, “Managing an Empire—Teacher and Pupil” (137-147) David Stronach, “The Building Program of Cyrus the Great at Pasargadae and the Date of the Fall of Sardis” (149-173) Mohammad Hassan Talebian, “Persia and Greece: The Role of Cultural Interactions in the Architecture of Persepolis-Pasargadae” (175-193) Margaret Cool Root, “Reading Persepolis in Greek—Part Two: Marriage Metaphors and Unmanly Virtues” (195-221) Olga Palagia, “The Marble of the Penelope from Persepolis and its Historical Implications” (223-237) Antigoni Zournatzi, “Cultural Interconnections in the Achaemenid West: A Few Reflections on the Testimony of the Cypriot Archaeological Record” (239-255) Yannick Lintz, “Greek, Anatolian, and Persian Iconography in Asia Minor : Material Sources, Method, and Perspectives” (257-263) Latife Summerer, “Imaging a Tomb Chamber : The Iconographic Program of the Tatarli Wall Paintings” (265-299) Stavros Paspalas, “The Achaemenid Lion-Griffin on a Macedonian Tomb Painting and on a Sicyonian Mosaic” (301-325) Despina Ignatiadou, “Psychotropic Plants on Achaemenid Style Vessels” (327-337) Athanasios Sideris, “Achaemenid Toreutics in the Greek Periphery” (339-353) Pavlos Triantafyllidis, “Achaemenid Influences on Rhodian Minor Arts and Crafts” (355-366) Mehdi Rahbar, “Historical Iranian and Greek Relations in Retrospect” (367-372) Shahrokh Razmjou, “Persia and Greece: A Forgotten History of Cultural Relations” (373-374)

Notes

1. The site is fully published in: M. Azarnoush, The Sasanian manor house at Hajiabad, Iran (Florence 1994).

2. The first appears as “Reading Persepolis in Greek: gifts of the Yauna,” in C. Tuplin, ed., Persian Responses: Political and Cultural Interaction with(in) the Achaemenid Empire (Swansea 2007) 163-203.

3. Deniz Kaptan is similarly compiling a corpus of Achaemenid seals and sealings in Turkish museums.

4. Other studies: “From Tatari to Munich. The recovery of a painted wooden tomb chamber in Phrygia”, in I. Delemen, ed., The Achaemenid Impact on Local Populations and Cultures (Istanbul 2007), 129-56; “Picturing Persian Victory: The Painted Battle Scene on the Munich Wood”, in A. Ivantchik and Vakhtang Licheli, edd., Achaemenid Culture and Local Traditions in Anatolia, Southern Caucasus and Iran: New Discoveries (Leiden/Boston 2007: Ancient Civilizations from Scythia to Siberia 13), 3-30.

5. Considerable progress is being made, e.g., in Georgia: V. Licheli, “Oriental Innovations in Samtskhe (Southern Georgia) in the 1st Millennium BC,” and M. Yu. Treister, “The Toreutics of Colchis in the 5th-4th Centuries B.C. Local Traditions, Outside Influences, Innovations,” both Ivantchik / Licheli, edd., Achaemenid Culture and Local Traditions in Anatolia (previous note), 55-66 and 67-107.

6. For early 2nd c. date of this fabricant, see Christoph Börker and J. Burow, Die hellenistischen Amphorenstempel aus Pergamon: Der Pergamon-Komplex; Die Übrigen Stempel aus Pergamon (Berlin 1998), cat. no. 274-286; one example has a context of ca. 200 BC.

7. Except possibly the misprint on p. 357, line 8 up, where “second century” should presumably be “second quarter” (of the fourth century)."