your pathetic academic career vs my awesome historical rpf porn research
noise dept.
h
One Nice Bug Per Day
PUT YOUR BEARD IN MY MOUTH

shark vs the universe
Noah Kahan
Sweet Seals For You, Always
tumblr dot com
he wasn't even looking at me and he found me
taylor price
art blog(derogatory)
hello vonnie
Keni
will byers stan first human second

Kiana Khansmith
Misplaced Lens Cap

titsay
"I'm Dorothy Gale from Kansas"

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@animo-et-corpore
your pathetic academic career vs my awesome historical rpf porn research

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“Helen’s cultic associations with the lover Aphrodite and the parthenos Artemis indicate her failure to make the transition to a stable marital status…She remains in circulation, the glorious bride gone wrong. From the earliest discernible point in the tradition of stories about Helen, she is this multiple, inclusive, and dangerous figure, whose reputation fluctuates repeatedly between praise and blame. Unlike her sister Clytemenstra, she is not only a figure of abuse; unlike Penelope, her predominate story is not that of the faithful wife. Although versions of Clytemenstra’s and Penelope’s tales suggest the possibility of defending the one and accusing the other, only the figure of Helen comprises both versions of the wife’s story poised in tense competition. […] The Homeric poet himself seems to respond to a preexisting tradition of conflicting stories, apparent in the tensions between the more forgiving depiction of Helen that he clearly favors and the darker implications that he allows to intrude. Unlike more narrowly delimited characters in epic, Helen represents a complex of forces in human life and a multitude of stories; her biography consists of a series of public events, each one a pivotal moment in the lives of many. So what type of voice does such an inclusive figure have? A voice that is not one, it seems; that is multiple and layered; that includes speech types strongly associated with relatively consistent characters, but transposed into other contexts where standard meanings do not necessarily match particular intentions. Helen’s special type of verbal mutability arises at least in part from a difference between the formal locuations she employs and the intended impact of her words, so that a gap repeatedly opens up between the usual meanings of familiar formulae and her singular implications. This gap between meaning and intention is not necessarily unique to Helen (again, cf. Odysseus), but it does take a unique form in her usage. Helen is a mimic, as her first husband is quick to point out (Od. 4.279); she takes on the voices of others (including both tone and typical phraseology), most often as a means of deflection. In practical terms, she thereby avoids blame, but this verbal mutability is also more profoundly related to her as the embodiment of multiple stories.”
— Nancy Worman, “This Voice Which Is Not One: Helen’s Verbal Guises in Homeric Epic”
IMAGE: Khayal Gatha, The Saga of Khayal (Kumar Shahani | 1989)
TEXT: Ruth Vanita – “MARRIED AMONG THEIR COMPANIONS: Female Homoerotic Relations in Nineteenth-Century Urdu Rekhti Poetry in India” in Journal of Women’s History, Vol 16, no. 1 (2004):
—
The new move that Rekhti makes in Indian poetry is to sexualize explicitly the Sakhi (woman’s intimate woman friend). Rekhti inherits this important poetic figure not from the Perso-Urdu ghazal but from Sanskrit and Sanskritic literatures.
[…] Female-female sexual relations are mentioned in the Kamasutra as well as in Arabic erotic texts such as the Thousand and One Nights, but they do not seem to be explicitly represented in Riti poetry. However, a suggestive female homoeroticism does appear in Riti poetry. In part, it arises from the ambiguity of the speaker’s gender. Commentators and translators ascribe gender to the speakers, and often do so on the heterosexist presumption that a speaker who praises the heroine’s beauty may be male or female, but when the praise is more eroticized, the speaker must be male. Thus, Krishna P. Bahadur, the modern English translator of Bihari, invents titles for every verse, which gender the speaker: “What he said to her companion,” or “What her companion told him.”
The verses in the manuscripts have no titles—while the speaker is sometimes gendered, in many others she or he is not, and this allows for a playful ambivalence. Even the verses that commentators do attribute to female speakers often express an ardent admiration that has an erotic tinge. In one example, the narrator comments: “Heavens! / How much beauty has god given her! / Even I am bewitched by it, dear lad, / how much more / you!” The translator here has inserted the words “how much more, you.” The original says simply: “Looking at that unique girl, I am entranced. How much sweetness god has given to her beautiful form.”
soo fun when renault’s mc has a complicated rivalry with his father and something oedipal with his mother. it’s like artist including their greatest hit remix in every new album
Any advice for someone who wants to do their own setting in the bronze age? (Hope this isn't a silly question)
-Remember that technological ages are ways to describe regional tool use forms rather than a strict linear evolution of improvements. When we refer to "the bronze age" broadly, what's being talked about is a technological period in parts of Europe, Asia, and North Africa in which bronze was the dominant material for tool production. Not everywhere with access to bronze metallurgy had a discrete 'bronze age' where this metal dominated toolmaking, and not just because they had something 'better' introduced before that could occur. A region's technology adapts to what resources are available (natively or by trade) and its geography, among other things.
I say this because Eurocentric looks upon history tend to focus first on the technological and political achievements of West Asian civilizations that laid the groundwork for European history as we know it, and then on European history as we know it, and so a lot of people are taught this very linear model of technological advancement, often with an underlying tone of an almost predestined arc of greatness. Stone age -> Copper Age -> Bronze Age -> Iron Age -> Dark Ages -> Renaissance -> Modernity. This is not some inevitable trajectory, this is the trajectory of one part of the world. There are Reasons metal use developments go in the copper->bronze->iron order in places where all three metals had dominant historical use. Copper has a lower melting point than iron, is abundant, and is much more durable than metals like gold or silver, and neolithic era kilns were entirely adequate for making copper tools, but not iron. So we have a "copper age" where metal tools are in demand. Bronze working comes as a development from copperworking, as bronze is an alloy of copper and tin, both of which have fairly low melting points. It requires specialized knowledge and techniques (with the tin and copper being handled separately before forging), so bronze metallurgy is not simply an immediate expansion of copperworking. This is seized upon where metal tools are in demand because bronze is much sturdier than copper, and so it becomes dominant and we have a 'bronze age'. Terrestrial iron is extremely abundant but must be smelted before use, and smelting it requires substantially higher temperatures than copper, tin, or bronze. So this required changes in forge technology that could generate hotter fires (in addition to techniques like introducing carbon to the process and ability to remove impurities) in order for ferrous metallurgy to take hold.
Basically what I'm saying is it's diminishingly unlikely that a society is able to create iron tools before it's able to create bronze tools (unless this technology and all requisite knowledge to use it was introduced from elsewhere, or unless you have magic in your setting that can generate really really hot fires. OR unless we're talking about the cold forging of meteoric iron, which is already in a workable state (unlike terrestrial iron which must be smelted from ore) and was used for a few thousand years before anyone started smelting iron). These processes all developed out of building on each other and knowledge being disseminated. But that doesn't Mean these technologies will naturally and inevitably come one after another. Andean and later Mesoamerican civilizations utilized both copper-tin and copper-arsenic bronze alloys and used this bronze for both utilitarian and artistic goods, but these bronze tools (as well as copper ones) were used alongside stone tools, and bronze tools did not have the overwhelming impact there that they did in parts of Eurasia (unfortunately this is an area of relatively limited easily accessible scholarship so I can't just off the cuff list any Specific hypotheses on why, beyond "the Americas and Eurasia had very different geographical and political and material circumstances, Eurasian styles of war and transportation created unique demands to specialize in metal tools for use in weapons/armor/vehicles/etc and fostered a dependency in them via competition with similar societies, while navigating the Andean and Mesoamerican political environments/systems of transport/warfare simply did not necessitate specialization in metal tools, and instead demanded a greater variety of material technologies be at play for utilitarian toolmaking"). Development of iron smelting did not occur in the precolonial Americas whatsoever, but iron from the Innaanganeq meteorite was used in cold forging and traded across great distances by the Thule people and their descendants for centuries. There is no linear "advancement", there is just what resources are available, what a society's needs are to survive/thrive in a specific geographical/social/political environment, where and how trade networks can be structured, and how local, regional, continental, and global history plays out.
This wikipedia map is good to look at. This is the overall division of subsistence/society types in 2000 BCE, in the midst of what was broadly the Eurasian Bronze Age.
Note that state societies are relatively few and far between, and are a tiny minority of societies in the world, and not all of them were utilizing bronze tools at this time (and on the other end, the area of bronze working comprises all sorts of societies who are in interaction by geographic proximity and trade, or in a couple of places in east and southeast Asia where the practice may have developed independently by this time). Keep in mind that your whole world is not going to be in its "bronze age" and there's going to be lots of other stuff going on, and many of your bronze age societies are going to have direct contact and trade with non-bronze working societies.
BUT ANYWAY:
Unless you're making a direct earth analogue with direct analogues to real life civilizations, your focus should first be on the material circumstances that facilitate mass creation and utilization bronze tools. You should have at least a basic map (and I think you should always have at least a basic map for large scale worldbuilding, or at the very least know where the things you're talking about exist in relation to the equator), and you should have an idea of where tin and copper ores are present on that map.
-If a major part of your setting is specialized into bronze toolmaking and is in a 'bronze age', that means people in this area have access to both copper and tin. And tin is a rare mineral so this means that there's long distance trade networks supplying tin to a large area of bronzeworking societies. Large, robust trade networks of that kind are generally going to have large, robust societies with an outsized hand in facilitating them, though a full spectrum of settled and some nomadic societies will contribute to this trade system. Think about where in the world bronzeworking techniques were first developed independently, and have a map in mind to figure out how this technology would have spread.
Here's a map I pulled from wikipedia of diffusion of bronze metallurgy, a a map that details tin deposits in more detail, and a map of possible tin trade routes
[source for the second map, I would read the whole article]
You can see what a long distance tin would have to be moved, and how the locations convenient for long distance sea trade become hubs for their zone of interaction. You need to have this sort of thing in mind when crafting your setting- where can tin be mined? What routes would the tin trade take? This goes for any other metal as well (and also should be kept in mind for any resource spread or obtained through trade in general), but copper is much more abundant and so its sources will not have as dramatic a sway on how bronze metallurgy disseminates and how bronze age societies structure their trade.
This sets up other questions to take into consideration. A place that's a convenient trading hub for getting tin to societies that demand it may develop an outsized sway on its zone of interaction, and be highly contested, or important for major civilizations to bring under their control or political influence/allegiance.
Trade is always easiest by water. No matter how well developed road infrastructure is in a given place, goods are going to be more difficult to transport (and therefore expensive) if they have to be moved mostly or entirely overland (except for like, short distances) rather than mostly or entirely over rivers and seas. In places on the far fringes of your Bronze Age region where tin imports would have to be moved a long distance purely on land, bronze goods may be limited to special purposes or to upper classes, with the average person using stone tools (class stratification may impose this to varying degrees on places with better access to tin as well). Large areas where trade has to occur completely over land will also slow the spread of new technologies (and cultural transmission in general), and in our history, this speed of transmission further depended on available domestic animals. Horses monumentally shaped human society wherever they were in use as domesticates, in some part because they facilitated relatively rapid movements of People and Ideas and Things over very long distances on land (camels play a similar or overlapping role in some places) (horses were also huuuuge for warfare but I digress). Places without pack/cart/mount animals also had robust land trade systems that moved goods over vast distances, but moving goods overland purely by human labor imposes different constraints on trade than movement supported by beasts of burden (and does open up some different opportunities- a human can't carry nearly as much as a horse, but they're smarter than the horse and can navigate more types of terrain and don't eat as much).
For your big states with outsized regional power, they need to be placed appropriately. Every state society within these periods fell within the subtropics or tropics with their long growing seasons, and in places suited for large scale settled agriculture, meaning with dependable access to fresh water one way or another (mostly by major rivers that facilitated large scale irrigation). The civilizations of Mesopotamia and Egypt fell within largely arid climates, but their agrarian cores were built up along rivers with huge fertile floodplains, and beyond that developed and utilized irrigation technology to better capitalize on their water sources. This allows for huge sedentary populations to be supported, which in turn can support the existence of complex states, which in turn help facilitate control over trade via centralized power/bureaucracy to manage it, large bodies of laborers to extract, produce, and move trade goods, military to protect assets and expand sphere of influence via conquest or threat of conquest, etc. Minoan civilization existed on an island and there's nothing particularly outstanding about its agricultural viability, but its prime location as a trade hub seems to be what facilitated its power, appearing to dominate trade in much of the Mediterranean at its peak. They appear to have exported luxury/specialty goods and moved tin and other key trade goods along and benefit in turn from resources that were limited on the island of Crete, which otherwise may not have been able to sustain a state society of this scope. Capitalizing on this system made them very powerful for a time (though unfortunately we haven't decoded their language, and so have very little definitive understanding of their government and how it interacted with trade). You should be thinking about stuff like that where you're placing some of your major players.
I'm ultimately assuming you want a setting that more or less resembles the Eurasian bronze age, in terms of the scope of societies, the number of people in interaction, etc, and the Mediterranean sea was crucial to the development of that technological period. Seafarers in this overall period didn't have the ability to make journeys across entire oceans, which requires a whole litany of achievements and cultural knowledge in navigation practices and sailing technology (large boats carrying goods around the open Mediterranean in the bronze age required teams of rowers). So having this sort of large but (relatively) narrow sea that connects to the open ocean, spans a substantial range, and has plenty of islands as stopping points is fundamental to how this period was able to play out. Of course you can also take entirely different routes and have a large period in its 'bronze age' that spread its technology primarily along oceanic coasts, secondarily along large rivers, and more slowly over land, but that's going to look very different (and odds are, is going to make this bronzeworking region smaller due to having less avenues to move tin around quickly and cheaply).
As usual the best way to do it is to research the bronze age(s) of real life, specific bronze age societies, etc to see how these ideas work in action. And I think the best way to use real life research for a constructed setting is to pay the most attention to how things interconnect, because that's ultimately what's going to give you the tools to make something feasible without it being a direct copy of real life. When you learn about a material, you ask questions like "where does it come from? who's extracting it? who's moving it over long distances? who's facilitating that movement?". ETC. Every answered question gives you more questions and you could go down this road for an eternity without running out of things to ask, but getting used to thinking and making connections like that is vital.
It is Impossible as a singular author to have a region the size of the one in that trade map and every single one of its moving parts worked out (much less An Entire World). You could spend your entire life just fleshing out every possible aspect of a bronze age trade power civilization on an island the size of Crete. But just knowing the kinds of questions you have to be asking and developing an intuition for how things interconnect is half the battle.
Bear in mind that trade also means cultural contact, exchanges of ideas, that sort of thing. It also requires ressources, so a lot of the goods traded - beides metal - will be luxury goods aimed at that sector. (This is how you end up with both Baltic amber and lapis lazuli from Afghanistan in Myceneaen Greece. Also glass! And ivory, and ostrich eggs).
It can also mean the introduction of new species and diseases. I recall something about rats being introduced in the Late Bronze Age from India (?) Don't quote me in that, but I think it came up in the context of the potential role of epidemics in the Bronze Age collapse and the possibility that the plague was one of them (not verfied, afaik). Chickens arrive from that region right around or shortly after the end of the Bronze Age.

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I'm not quite sure how to phrase this, but what are your feelings on Cassandra and Apollo's relationship?
Okay, this is really, really hard to explain. Except that I think everyone else is wrong. I am going to give you an answer, but it is not going to be a complete or adequate one.
He is her god. She is his priestess. She calls herself his latris, his servant. She is devoted to him. He has also hurt her immensely, he has also caused her unbearable suffering.
She wears his garlands, carries his sacred staff. She calls him her philtatos, her dearest, her beloved. She also calls him her destroyer. She addresses him constantly; he is always with her, she can always feel his presence.
She was trying to consent to him, and could not. ξυναινέσασα Λοξίαν ἐψευσάμην, “In consenting to Loxias I lied.” The consent and the deception happen at the same moment; she does not make a promise and renege on it, it’s nothing so simple as that. Consenting to a god is difficult; sex with a god is unlike sex with a mortal. He overwhelms her with his sheer physical presence, with the intensity of his divinity, breathing charis upon her body. She cannot accept him. It is like a test she failed. He punishes for it, and this is a terrible cruelty, it is a disrespect against her own bodily autonomy. It shows that he believes there is no part of herself she should hold back from him.
It is cruel, but he is a god, and the cruelty of the gods is unlike human cruelty. They rarely respect mortals’ autonomy, their right to control their own bodies and their own fates. His cruelty is to be expected.
The text makes it difficult to tell whether he rapes her, or whether, at her refusal he steps back and leaves her body alone. I don’t know. It could be either.
One critic says that her rejection of him is about a refusal to bear his child in her body, arguing that she is one of the few women desired by a god who does not bear a divine child.
Even if she denies him access to her physical body, he is always within her. That is what prophecy means, this is what it means to be his priestess. This is its own, unique type of intimacy. He gives her visions which are agony. And she also experiences the joy and glory which is his presence.
She laughs, and sings, and invites him to lead her to Agamemnon’s bed: άγε συ Φοιβε νιν, κατα σον εν δάφναις ανάκτορον θυηπολω, “You, Phoebus, lead me; among the laurels I offer sacrifice at your shrine.” This means: “Look what you have done to me, take responsibility for it.” This means: “Look how I serve you still, even when you have forsaken me.” This means: “Help me find joy in my subjugation.” This means: “I love you.”
*widely praised poetic quote in a foreword by a usamerican translator voice* see this language.... it's not like other languages. sometimes it has metaphors. or abstract thinking. sometimes a word has several meanings. sometimes a lot of meaning can be condensed into two words. sometimes those words even have etymologies. sometimes if you translate idioms or break down the components of words you can get something pretty cool in english. and naturally this gives us essential insight into the timeless national character of its people
the ambiguity of uncles....
Happy Pride to whatever Helen and Aphrodite have going on
Bowls of the ancient world
1. bowl, egypt 200-150 b.c 2. bowl depicting man holding cup and flowering branch, iraq, 10th century 3. bowl with fish motif, Peru, Paracas culture, 650-100 BCE 4. bowl with eagle, Egypt, ca. 1000 5. bowl, egypt, ca. 1295-1185B.C 6. gold libation bowl, greece, 4th-3rd century BCE 7. glass bowl, roman, 1st century AD 8. bowl, Peru, Paracas culture, 5th-4th century BCE 9. blue marsh bowl, egypt, ca. 1550-1458

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This Egyptian rock painting was found inside the tomb of Khnumhotep and Niankhkhnum, and dates to some time around 2400 BCE. It depicts the two men holding hands, surrounded by their children - the traditional pose of a married couple. It may well be the oldest piece of art shown depicting a male-male relationship.
According to Wikipedia, “the men’s chosen names (both theophorics to the creator-god Khnum) form a linguistic reference to their closeness: Niankhkhnum means “joined to life” and Khnumhotep means “joined to the blessed state of the dead’”, and together the names can be translated as “joined in life and joined in death.”
And just as a kicker: the two both held the title of Overseer of the Manicurists in the Palace of King Niuserre.
Iphigenia (1977) dir. Michael Cacoyannis
imagine how awkward it must have been to be a king right at the tail end of your civilization's retainer sacrifice period. sorta hesitantly making plans to have the pit installed in your tomb and looking around trying to gauge the vibe
When asked "what do you want to be when you grow up?" 89% of children ages 6-18 responded 'warrior-poet'. The remaining 11% was some other boring shit
history fucked me up
oxford was built and operational as a college before the rise of the mayans and cleopatra lived in a time nearer to pizza hut’s invention than to the pyramids being built
I need a noncomprehensive history book that covers Known World History in time periods, like “in this century, all this shit was happening concurrently” and not just all spread out so I have to piece it together like some unpaid uneducated scholar
You mean like this?
The Timetables of History by Bernard Grun
I grew up with this book, which is frickin’ enormous, and it was endlessly fascinating to young me to pour over the side by side comparison of events taking place concurrently under different headings and in different parts of the world.
Or if you want something you can put on your wall, there’s this:
World History Timeline
I had this book! My grandpa gave it to me and it was really freakin useful!!
I loved this book! Same for The Timetables of Science: A Chronology of the Most Important People and Events in the History of Science.
Same for The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology. Great references!
okay but here’s an even cooler (free!) visualization that goes a step further and tracks ideas, devices, infrastructures, and systems of power
Calculating Empires: A Genealogy of Technology and Power Since 1500
✨️with a special focus on colonialism, militarization, automation, and enclosure✨️
You can spend hours upon hours exploring this

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kinda ate him up ngl
hey I'm having a bit of a hard time mythologizing you do you think you could make yourself a bit more one dimensional?