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@partlyironic
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Anastasiia Osmolovska - Explosion, 2026 - Oil on canvas
Men think they are intellectual for liking cristopher nolan movies

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Henni Alftan (b. 1979) - Corduroy, 2020
oil on canvas, 60 x 73 cm
The strongest defense of Odysseus is offered by Arthur W. H. Adkins, who bases his argument on the logic of ethical justification used in fifth-century Athens. Adkins cautions against reading Odysseus's arguments anachronistically and ascribing to the Greeks present-day ethical understandings or sentiments (193). He argues that Odysseus's justification of the sacrifice of Polyxena accords with the fifth-century Greek commitment to competitive over cooperative values. Adkins's analysis is important for two reasons. First, it explains why the army might embrace Odysseus's reasoning. Even if Odysseus is assumed to be cynical, it is unlikely that the army could be so easily won over to his cynicism or, alternatively, so easily taken in by his manipulation unless his argument had some merit and spoke to an obligation that the Greek soldiers could recognize as making serious claims on them. Second, Adkins's defense recovers Odysseus as a character who cannot be reduced to a simple villain, and it shows that he need not be an insensitive and cynical opportunist, as he is, for example, in Sophocles's Philoctetes. Rather, he can be read as someone acting honorably and doing what the circumstances require.
The weakness of Adkins's account is that it omits precisely what Odysseus cannot see, and hence it misses Euripides's criticism of Odysseus's speech. Odysseus is untroubled by his argument, and he suffers from none of the self-division that besets the army as a whole. His loyalty is single; his concern is to ensure the strength of the Greek army. He accepts unquestioningly the ethics of competition, and thus he is blind to the injury that he inflicts. His exclusive commitment to the army is what makes him so terrifying. He is not corrupt or cynical, merely limited. His speech embodies the unreflective security that follows from the ethics of power. Other critics make clear Odysseus's limitation (Abrahamson 123-24n10; Conacher 157-58). For them, the sacrifice of Polyxena is an act of political expediency that violates nomos (law as an institution or practice grounded in convention) and that consequently cannot be justified. The response of the chorus supports their analy- ses. After hearing Odysseus reply to Hecuba, the chorus draws the following conclusion: "This is what it means to be a slave: to be abused and bear it, / compelled by violence to suffer wrong" (331-32). What the chorus does is to read an ostensible instance of peitho as an instance of bia. The chorus's reading of Odysseus's speech implies that one's position in a discursive situation is crucial, that when power is held unequally, force determines the outcome, and further that the force need not actively repress speech, be- cause the inequality of the speakers renders rhetoric irrelevant in the determination of the encounter. These observations outline the rhetorical crisis that Euripides seeks to dramatize in the scene. Hecuba's inability to get Odysseus to consider her words seriously exemplifies the rhetorical powerlessness of marginalized speakers.
Odysseus's complacent rejection of her pleas suggests his ethical failure, and the inadequacy of his response shows that political expediency need not derive from personal corruption but may reflect institutional and ultimately cultural containment. The scene's structure argues that peitho is not and cannot be effective in this situation, for persuasion depends on the relations that exist between speakers and audiences. Odysseus permits Hecuba to speak because he knows beforehand that she will not affect his decision. Hecuba is an aged female slave who has no power, and without power, she cannot speak in a way that might influence Odysseus. Hecuba's earlier act of charis did not enlarge Odysseus's sense of her humanity or of his own. This lack of effect is evident in Odysseus's reductive interpretation of his obligation to Hecuba. He is strictly legalistic in reading his indebtedness to her generosity, eviscerating the ethical force of her act. Because he holds power, her words cannot touch him. He is not, however, conscious of the heinousness of his action; rather, he remains oblivious to his cruelty, and when challenged, he displays the testiness of the bureaucrat accused of missing the relevant ethical issues and asked to understand better what a situation requires. When Odysseus feels that Hecuba does not appreciate his largess, he perceives her as an annoying petitioner who obstinately refuses to understand the reality of her situation and who, in her irrationality, does not realize the kindness offered to her. Consequently, it is not surprising that he retreats to the assertion that he is in charge.
-Kastely, J. L. (1993). Violence and Rhetoric in Euripides’s Hecuba. PMLA, 108(5), 1036–1049. https://doi.org/10.2307/462984
INTERVIEW WITH THE VAMPIRE (2022–)
before my egg cracked, i had noticed that trans people were often pro-accessibility and up-to-date on the needs of disabled people, but i hadn’t seen any inherent connection between the two (other than the obvious minority-looking-out-for-other-minority thing). but now that i’m trans and medically transitioning, and i have to constantly repeat myself while talking to doctors and nurses, and explain things about my own anatomy to medical staff who should already know this, and having every single problem i might have blamed on my “condition” so nothing i say is taken seriously, all of the sudden i have a little sneak peak into the life of someone who has to deal with this all the time. like shit bro, being disabled probably sucks ass, someone should do something about this
happy disability pride month, we all deserve autonomy and respect and access to medication

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"Free For A Day" Art by Howie Noel
Roommate with her sister, (1972) Nan Goldin
In the early 1970s, while living in Boston, Nan Goldin met a group of drag queens. They quickly became friends, then roommates, and subsequently her primary photographic subjects for several years. “I first saw them—Ivy and Naomi and Colette—crossing the bridge near Morgan Memorial Thriftshop in downtown Boston. They were the most gorgeous creatures I’d ever seen. I was immediately infatuated...They became my whole world.”

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Mantle, Peruvian, Paracas-Nasca, South CoastEarly, Intermediate Period, Phase 1AD 1-100, Peru, South Coast.
Design: rows of shaman figures with heads thrown back, worked solidly with wool.
Camelid fiber plain weave embroidered with camelid fiber in stem-stitch, 142 x 241 cm (55 7/8 x 94 7/8 in.)
https://collections.mfa.org/objects/36603
Is God Is (2026) dir. Aleshea Harris