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sudden dawning of how forgettable your existence might be....hm

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Lady Knight 🗝️⭐️
Parade Armour of Henry II of France
The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II. [ ⚔ ]
The Knight-Woman, Vardges Sureniants
In 1909, V. Sureniants painted the canvas "The Knight-Woman," based on the historical figure of Aytsemnik, a courageous heroine from the city of Ani. The name of this fearless Armenian woman is connected to the heroic battles fought in 1126 to defend the Armenian capital of Ani. During that period, one of the seljuk emirs led a large army and laid siege to Ani, prompting the Armenian population to rise in defense of their homeland.

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Words by Andrea Gibson
Be a flower!
for the flower collab with my dear colleagues artists☺️🪻
a new knight :)))
blue gouache wash and black India ink

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There's something about holding up apperances in early TAD that's very interesting to me. Not to the viewer/reader but in-world for the other characters
Despite proving herself competent time and time again, Maomao, the small, weak, malnourished girl with scars on her arm, kidnapped and sold/sold to the rear palace by her family after they abused her, now made to be the poison tester of a concubine gets a lot of pity and sympathy from the people around her. She has all the signature signs of an abusive childhood when she didn't have one, just a slightly rough one due to circumstances rather than the malice of her caretakers
Jinshi, meanwhile, is the opposite; tall, muscular, not a blemish or scar on his body (as of the first 4 LNs). His apperance is that of someone cared for, nourished, and nurtured all his life. His body holds no signs of the emotional abuse and neglect he'd actually gone through; none of the assassinations, poisonings, or sexual assault attempts are apparent on first glance or even upon closer inspection. So he gets no pity or sympathy from the people around him
As the story progresses, their physical presentations begin to mirror more of their true selves. Maomao is eating better (better salary + En'en's cooking), she's confident and no longer tries to lay low in her white medical assistant jacket. Even her bold and straightforward approach to earning her place and demanding she's taught medicine showcase she'd been supported in her endeavors all her life
At the same time, Jinshi appears more comfortable with himself the more "disheveled" or scarred he becomes. Sure, there's feeling more like a man and lessening his beauty, but he's also happiest and most free when all he feels he went through is expressed outwardly
The scar on his cheek, the fake burn on his face, and the brand on his flank all validate what he'd been through, even if indirectly because they're all (to some extent, self-inflicted). He doesn't look perfectly cared-for because he HADN'T been perfectly cared for. Now, when he looks in the mirror, even something as simple as undereye bags, make this body reflect his reality, current and past, rather than a inaccurate portrayal of a prince
not in the mood to finish anything rn so here is some jinmao
Okay, okay, I have to give my two cents on the choking scene in LN5 because I’ve seen way too many different interpretations online.
I don’t believe it was a “kinky make-out” as many assumed from the Japanese translation, nor do I think he did it purely out of rage — even less out of jealousy.
Jinshi was trying to make a point.
At the banquet, Maomao wore his hairpin, and despite feigning ignorance, she was 100% aware of what she was doing. She was basically screaming to everyone there that she was “the prince’s favorite,” probably even implying that she was the one he had already chosen to be his wife. But then, she danced with Rikuson, making Jinshi look like a clown, and when Jinshi approached her, she denied everything all over again.
Jinshi was tired and running out of time, since the Emperor kept throwing women at him, women he didn’t want. He was nervous. Through her actions, Maomao was confirming her feelings for him — something Jinshi had always suspected, since he was perfectly aware of her emotional walls. And then what happened? She wounded him with her words, denying any possible interest and even suggesting he marry someone else. Jinshi wanted to break through her apathy by making her feel the pain he himself was feeling, and then kiss her, to finally make her realize her own emotions (which is why he felt like he had “won” right after the choking and the kiss).
But in the end, even though he managed to pull a reaction out of her, what he saw on her face wasn’t what he was hoping for. He even started to believe that she hadn’t enjoyed his kisses — or hadn’t liked them — and in fact, he never tried to kiss her again until volume 12! (And Maomao kind of had to ask him to kiss her properly, since he was still scared!)
The scene wasn't about truly chocking her in blind rage imo, but he definitely wanted to make her feel pain. The kiss was forced. Yet these dialogues aren't causal either:
“Sometimes, I want to hit you.” [...] “Not the face, please. Somewhere where it can’t be seen.” “I won’t actually hit you.” “I know.” Jinshi was not the type to lay a hand on women or children.
“It hurts, sir.” “Oh, it hurts?”
“Don’t pretend you didn’t realize that you were one of the candidates. I can tell you’re trying to feign ignorance.”
I also read a lot of Maomao’s descriptions and especially the second kiss as very biased, since she was struggling with her own thoughts and fears about what a relationship with him would mean.
For instance, he wasn’t really crushing her against the bench, he was just being passionate. But for Maomao — who still wasn’t ready to accept his passionate love — that felt as suffocating as if he actually were.
Let’s just hope season 3 will manage to convey all of this clearly on screen.
Won Lee (1946-2021)—Waiting for Godot #3 (bronze sculpture, 2012)
(reblogs are open once more, here's hoping for less bot involvement)

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a few psychoanalytic sources on the Internet Archive that i personally vouch for
Freud
an outline of psychoanalysis
the origin and development of psychoanalysis
the complete psychological works
the ego and the id
the interpretation of dreams
introductory lectures on psychoanalysis
a collection of critical essays
Lacan
four fundamental concepts (other edition here)
the ethics of psychoanalysis
the limits of love and knowledge
the language of the self
seminar i: freud's papers on technique
Sartre
existential psychoanalysis
being and nothingness
Žižek
the sublime object of ideology
violence
everything you always wanted to know about lacan (but were too afraid to ask hitchcock)
the plague of fantasies
in defense of lost causes
enjoy your symptom! lacan in hollywood and out
others
Read My Desire: Lacan Against the Historicists – Joan Copjec
Imagine There's No Woman – Joan Copjec
gaze and voice as love objects – Žižek et al
jacques lacan and the other side of psychoanalysis – Žižek et al
a clinical introduction to lacanian psychoanalysis – bruce fink
lacan: the absolute master – mikkel borch-jacobson
lacan and contemporary film – todd mcgowan et al
haiku #15, tathev simonyan