Bogwitch

history

lostsplendor:

Bear Mountain, New York c. 1943 (via Shorpy Historical Photo Archive)

lostsplendor:

Bear Mountain, New York c. 1943 (via Shorpy Historical Photo Archive)

(via intelligibledirigible)

12 May 2013 reblog: lostsplendor warrior women women archery history


Queen Elizabeth I, William Shakespeare get modern makeovers.

8 May 2013 history fashion Shakespeare women Queen Elizabeth I


yagazieemezi:

In 1960, Garanger, a 25-year-old draftee who had already been photographing professionally for ten years, landed in Kabylia, in the small village of Ain Terzine, about seventy-five miles south of Algiers. Garanger’s commanding officer decreed that the villagers must have identity cards: “Naturally he asked the military photographer to make these cards,” Garanger recalls. “Either I refused and went to prison, or I accepted. 

“I would come within three feet of them,” Garanger remembers. “They would be unveiled. In a period of ten days, I made two thousand portraits, two hundred a day. The women had no choice in the matter. Their only way of protesting was through their look.”

Read more: http://lightbox.time.com/2013/04/23/women-unveiled-marc-garangers-contested-portraits-of-1960s-algeria/#ixzz2RUaQLNXJ

“In the Middle East, the veil is like a second skin among traditional people. It may be taken off only within the secrecy of the walls, among women or between husband and wife, but never publicly. Garanger’s portraits symbolize the collision of two civilizations, Islamic and Western, and serve as an apt metaphor for colonization. The women’s defiant look may be thought of as an ‘evil eye’ that they cast to protect themselves and curse their enemies.

Fifty years after Algeria’s independence was proclaimed, Garanger’s contested portraits have not lost their strength. When he went back to Algeria in 2004 to meet those he had photographed, he found that the pictures he had taken were often the only ones that the women ever had of themselves, and they welcomed his return: he had become the keeper of their memory. This month, his portraits will be exhibited in Algiers.”

(via littlehouseontheprisonfarm)

29 April 2013 reblog: yagazieemezi photography people women history Algiers


Probably no man has ever troubled to imagine how strange his life would appear to himself if it were unrelentingly assessed in terms of his maleness; if everything he wore, said, or did had to be justified by reference to female approval; if he were compelled to regard himself, day in day out, not as a member of society, but merely (salva reverentia) as a virile member of society. If the centre of his dress-consciousness were his cod-piece, his education directed to making him a spirited lover and meek paterfamilias; his interests held to be natural only in so far as they were sexual. If from school and lecture-room, Press and pulpit, he heard the persistent outpouring of a shrill and scolding voice, bidding him remember his biological function. If he were vexed by continual advice how to add a rough male touch to his typing, how to be learned without losing his masculine appeal, how to combine chemical research with seduction, how to play bridge without incurring the suspicion of impotence. If, instead of allowing with a smile that “women prefer cavemen,” he felt the unrelenting pressure of a while social structure forcing him to order all his goings in conformity with that pronouncement.

He would hear (and would he like hearing?) the female counterpart of Dr. P*** informing him: “I am no supporter of the Horseback Hall doctrine of ‘gun-tail, plough-tail and stud’ as the only spheres for masculine action; but we do need a more definite conception of the nature and scope of man’s life.” In any book on sociology he would find, after the main portion dealing with human needs and rights, a supplementary chapter devoted to “The Position of the Male in the Perfect State.” His newspaper would assist him with a “Men’s Corner,” telling him how, by the expenditure of a good deal of money and a couple of hours a day, he could attract the girls and retain his wife’s affection; and when he had succeeded in capturing a mate, his name would be taken from him, and society would present him with a special title to proclaim his achievement. People would write books called, “History of the Male,” or “Males of the Bible,” or “The Psychology of the Male,” and he would be regaled daily with headlines, such as “Gentleman-Doctor’s Discovery,” “Male-Secretary Wins Calcutta Sweep,” “Men-Artists at the Academy.” If he gave an interview to a reporter, or performed any unusual exploit, he would find it recorded in such terms as these: “Professor Bract, although a distinguished botanist, is not in any way an unmanly man. He has, in fact, a wife and seven children. Tall and burly, the hands with which he handles his delicate specimens are as gnarled and powerful as those of a Canadian lumberjack, and when I swilled beer with him in his laboratory, he bawled his conclusions at me in a strong, gruff voice that implemented the promise of his swaggering moustache.” Or: “There is nothing in the least feminine about the home surroundings of Mr. Focus, the famous children’s photographer. His ‘den’ is panelled in teak and decorated with rude sculptures from Easter Island; over his austere iron bedstead hangs a fine reproduction of the Rape of the Sabines.” Or: “I asked Mr. Sapristi, the renowned chef, whether kitchen-cult was not a rather unusual occupation for a man. ‘Not a bit of it!’ he replied, bluffly. ‘It is the genius that counts, not the sex. As they say in la belle Ecosse, a man’s a man for a’ that’ –– and his gusty, manly guffaw blew three small patty pans from the dresser.’

He would be edified by solemn discussions about “Should Men Serve in Drapery Establishments?” and acrimonious ones about “Tea-Drinking Men”; by cross-shots of public affairs “from the masculine angle,” and by irritable correspondence about men who expose their anatomy on beaches (so masculine of them), conceal it in dressing-gowns (too feminine of them), think about nothing but women, pretend an unnatural indifference to women, exploit their sex to get jobs, lower the tone of the office by their sexless appearance, and generally fail to please a public opinion which demands the incompatible. And at dinner-parties he would hear the wheedling, unctuous, predatory female voice demand: “And why should you trouble your handsome little head about politics?”

If, after a few centuries of this kind of treatment, the male was a little self-conscious, a little on the defensive, and a little bewildered about what was required of him, I should not blame him. If he presented the world with a major social problem, I should scarcely be surprised. It would be more surprising if he retained any rag of sanity and self-respect.

from “The Human-Not-Quite-Human”, an essay in Are Women Human? by Dorothy Sayers, 1947

Thankfully, we’ve come a bit further since the 40’s, if only just a bit.  Because magazines are still there (as far as I know; I have been avoiding them like the plague my whole life).

But the really interesting thing to me is how this also has a significant bearing on the whole Driscollian travesty. 

24 April 2013 Dorothy Sayers women men feminism literature history empathy


vanillahime:


Charnia - Ediacaran period


Like braided rock, so pretty.

vanillahime:

Charnia - Ediacaran period

Like braided rock, so pretty.

(via lostbeasts)

24 April 2013 reblog: vanillahime biology paleontology rock history fossil


fancylibrarian:

“When you have these two important qualifications - love for books and love for people - you may well consider the vocation of a librarian, a vocation that gives full enjoyment to the librarian and radiates it to the public.” - [x]

:)

So…what if I only have half of those qualifications?

(Source: silencewhippersnapper, via shrinkinglibrarian)

23 April 2013 reblog: silencewhippersnapper books library history


derwiduhudar:

Flint handaxe containing a fossil seashell, circa 300,000 years old. The fossil is far older than the actually tool, or even the flint, for that matter. What is clear is that the toolmaker made a conscious decision to create his tool around this central ornament for whatever aesthetic or religious reasons. (Museum of Archaeology and Anthropology, Cambridge) Image by Irisharchaeology.ie via The Celtic & Prehistoric Museum

derwiduhudar:

Flint handaxe containing a fossil seashell, circa 300,000 years old. The fossil is far older than the actually tool, or even the flint, for that matter. What is clear is that the toolmaker made a conscious decision to create his tool around this central ornament for whatever aesthetic or religious reasons. (Museum of Archaeology and Anthropology, Cambridge) Image by Irisharchaeology.ie via The Celtic & Prehistoric Museum

(via lostbeasts)

3 April 2013 reblog: derwiduhudar art archaeology paleontology history



Traditional Home, Libya
Photograph by George Steinmetz, National Geographic
Kasim Abdu Salaam Habib, 39, opens his lovingly decorated 600-year-old home to foreign tourists in Ghadames in western Libya. The house needs repairs, and visitors are scarce these days. But Habib is optimistic. “I want to see Libya as a democracy,” he says.

The colors are a little intense for me, but I love the idea of carving your home into interesting & useful shapes, lining it with comfy textures, and embellishing it with lovely colors.  Mine would be all gray, purple, teal, cobalt, and rust.  And it needs more light.

Traditional Home, Libya

Photograph by George Steinmetz, National Geographic

Kasim Abdu Salaam Habib, 39, opens his lovingly decorated 600-year-old home to foreign tourists in Ghadames in western Libya. The house needs repairs, and visitors are scarce these days. But Habib is optimistic. “I want to see Libya as a democracy,” he says.

The colors are a little intense for me, but I love the idea of carving your home into interesting & useful shapes, lining it with comfy textures, and embellishing it with lovely colors.  Mine would be all gray, purple, teal, cobalt, and rust.  And it needs more light.

3 March 2013 colors home art National Geographic nest burrow light history culture


Archaeologists have not yet discovered any stage of human existence without art. Even in the half-light before the dawn of humanity we received this gift from Hands we did not manage to discern. Nor have we managed to ask: Why was this gift given to us and what are we to do with it? And all those prophets who are predicting that art is disintegrating, that it has used up all its forms, that it is dying, are mistaken. We are the ones who shall die. And art will remain. The question is whether before we perish we shall understand all its aspects and all its ends.

Alexsandr Solzhenitsyn, Beauty Will Save the World
(via quaerere-deum)

Boooya

(via photolodico)

(via photolodico)

3 March 2013 reblog: quaerere-deum art artists history literature


19 February 2013 reblog: spicyshimmy books history people literature television film