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For Street Photography Now Project's Instruction #46:
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
Criticism is welcomed on this or any other of my photographs.
How times have changed since I last received a Scottish Education result some decades ago. My mobile pinged with a text arriving, just after 8am this morning to let me know I had been awarded an A pass in my SQA Higher Photography course!
I photographed the homeless James in Edinburgh's Royal Mile on a wintry January afternoon. Living in Skye, this is a sight with which we are unfamiliar in Skye, so I was full of empathy for him. The photograph reflects the pathos of the situation on our urban streets. The feelings evoked from looking at it also encouraged me to adopt urban portraiture as my portfolio theme.
I've just seen that this picture has been explored! Its my first one!!!! Yuppi! Thank you all for all the support, its thanks to you!!!!
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Hi all,
This one is rather humoristic:)
Just before Easters we went to that amazing Blue Fairy Forest in Halle, near Bruxelles. The views were amazing, and its just for few weeks in a year like this.
We took around 400 pics that day and here is the one I found funny, little disturbing too:) Little change from all this pathos filled conceptual from weeks before! Enjoy!
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ANDRE LEBON – ON : 603470
Built 1915 by Messageries Maritimes , La Ciotat, France ( YN : 142) as ANDRE LEBON
GRT: 14368/ DWT: ??
Length (LPP): 154.9 metres x Beam : 18.8 metres
Service Speed 14.5 knots
Machinery: 2 shafts each driven by a quadruple expansion reciprocating steam engines, 12 coal-fired boilers until 1924, then oil-fired
History
1915: ANDRE LEBON : Cie des Messageries Maritimes, Marseilles
1922: ANDRE LEBON : Soc des Services Contractuels des Messageries Maritimes, Marseilles
1948: ANDRE LEBON : Cie des Messageries Maritimes, Marseilles
1952: Broken up at La Seyne.
On commissioning in 1915 ANDRE LEBON was requisitioned as a troop transport, the first departure for Salonika on December 26, 1915. She also made postal trips on the Far East line. On July 11, 1916, in particular, she embarked in Hongay (Indochina) the 10th Battalion of Indochinese Tirailleurs, arriving in Marseille on August 16 after an uneventful journey. On 26 September 1916, she was converted into a hospital ship until 1918. On July 28, 1918, he embarked in Saigon several companies of various battalions of colonial troops, joined on July 19 in Shanghai by a Serbian detachment and on July 30 in Taku by two other companies of various colonial regiments, the whole forming the Siberian colonial battalion, which landed on August 9, 1918 in Vladivostok to take the Bolshevik troops from behind . ANDRE LEBON finished the war without incident, and resumed civilian activity in 1919 on the Marseille-Yokohama line. In 1919, while coaling in the harbour of Singapore, the ship suddenly heeled and water entered through the open ports. The vessel sank on a even keel as a result of the water that entering, fortunately in shallow water and it was possible to salvage the vessel and return back into service.
On September 1, 1923, she was in the harbour of Yokohama during the earthquake. Despite her boilers being worked on she managed to maneuver in such a way that it avoids the fire following the earthquake, and saves more than 1500 people who were able to board the ship.
In, 1936, sent for a refit.
In 1939, it was requisitioned and carried out various transports. He participated in particular during the summer of 1940, then in 1941, in the repatriation of French troops from Syria. Decommissioned at Marseille at the end of 1941. She was seized by the Germans on May 6, 1943 and transformed into barracks for a few months. Sunk in the port of Toulon on March 11, 1944 by American planes, ANDRE LEBON it was refloated the following year, repaired at La Seyne, and resumed the Far East line. Ran aground on 26 September 1948 on a sandbank at Cangio Point, but could be cleared, and on 20 October was the first ocean liner to visit Yokohama after the war. She was sold for scrapping at La Seyne in December 1952 after almost 40 years of service..
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PORTHOS – ON : 603795
Built 1915 by Chantiers et Ateliers de la Gironde, Bordeaux (?? YN) as PORTHOS
GRT: 12633 / DWT: 9340
Length (LPP): 155.7 metres x Beam : 18.8 metres
Service Speed 17.0 knots
Machinery: 2 shaft each driven by a triple-expansion steam engine with steam supplied by 9 coal-fired boilers
History
1922: PORTHOS : Soc des Services Contractuels des Messageries Maritimes, Marseilles
1942: 8 Nov : Damaged by gunfire from USS MASSACHUSETTS while alongside at Casablanca
1945: Broken up
Launched 25 January 1914 in Bordeaux. Sister ship of ATHOS. Intended for the Marseille-Saigon-Haïphong line. Postal service during the war, without any particular incident. Served on the Far East Line until 1939. It made some rotations to Madagascar in 1939 and 1940. On September 23, 1940, hit by a 155 mm shell during the bombing of Dakar. She was finally sunk by gunfire on November 8, 1942 in Casablanca, when hit by by a salvo of 406 mm shells from the USS Massachusetts resulting in 26 deaths. This action was part of Operation Torch the landing in French North Africa.
Meet Hollywood Boulevard's biggest star attraction—Award Night Jem! The Academy Award season was approaching fast and the anticipation of the evening was felt by all as Jerrica and the Holograms gathered around the television set to watch the news report for “Best Actress” in a motion picture. After several minutes in, the nominees were announced and Jem was among a few who were nominated! Without delay, Jerrica and the Holograms leaped up in unison and couldn't regain control of their emotions as they cheered for their loving sister. The noteworthy news of her nomination traveled fast, prompting a highly publicized feature in Daily News Tribune, and Rock Scene Magazine, along with an appearance on the Harriet Horn show where she sat shoulder to shoulder with fellow nominees: Sigorny Reever, Meryl Saint and Geraldine Pathos. Harriet didn't waste one second firing up her grill to roast Jem on her acting abilities, and branded the Pop star as an unusual candidate for an Academy Award. Harriet then went on to claim that music suited her better than acting! Sigorny chimed in and actually complimented her acting skills, leaving the door wide open for Meryl to question Jem's studying credentials, for which Jem replied that she never studied formally and worked hard instead. Well, the grits hit the fan, when Geraldine lumped off of the couch and argued that Jem had the nerve to compete with actresses who have spent years at their craft! After Harriet caused a riff between Sigorny and Geraldine, the word came in from the producers that the entire airing of the show was the most watched broadcast of Ms. Horns career, and was also labeled the “Showdown of the Year” with Geraldine vs Jem. Content with the outcome of the night, Harriet closed the show with yet another successful roast. While on the set of her latest film, Jem received a telegram inviting herself and the Holograms to a party at French director François Trésor's mansion, in Beverly Hills. Kimber grew wide-eyed at the news, but Jem wasn't sure what to think considering her unfamiliarity with him. Still, she didn't want to pass up the opportunity to attend such a lavish soirée. Tinseltown's biggest and brightest descended on his 5,000 square front lawn, and also near the backyard pool, where most of the A-list actors stood around boasting about their latest accomplishments in film. Jem arrived on the arm of Rio, and Kimber was attached to Sean Harrison. The five entertainers were in heaven as they hobnobbed with the best of the best in the industry. Then François approached Jem from left field with an offer to appear in his new film. Flattered by his offer, Jem asked if he'd allow her to finish her prior commitment to Mr. Sands, but François declined and walked off in a fit of anger. Horrified by what occurred, but struck silly at the sight of Kimber and Sean sitting in the jacuzzi fully dressed and sipping wine, Jem decided to enjoy the remainder of her night and walked away with her beau. At just about a split sec later, Raya ran full throttle towards Jem and dragged her over to the pool where she witnessed François flouncing around with a group of news reporters who were attentive as he began lying and badmouthing her. It was Rio to the rescue, and the partygoers didn't waste time clearing a path as he walked over to the disgruntled director, picked him up and slammed him into the pool! Out of concern for François LIFE, Jem, secretly grinning at the altercation, grabbed Rio by the arm, and the two gladly walked away. In the weeks to come, Jem was hard at work on her Howard Sands production, and also found time to play bridesmaid to her younger sister, Kimber Benton. Unfortunately, the union between Kimber and Jeff was short-lived, and Jem—being the nobel sister that she is—stood by Kimber's side and dried her tears as she canceled her own wedding. After a chaotic week of events, Jem was finally prepared to screen her film, Starbright, at World Studios, and she invited a list of actors and entertainers to join her, including Hollywood's leading man, Flint Westwood. While standing in the entranceway of the theater room, Jem came face to face yet again with François Trésor and the two started up an argument regarding his reason for attending her premier. This time, Trésor rattled not only one cage, but TWO, as Rio and Flint, who were more than happy to defend Jem's honor, balled up their fists and growled for the miserable director to split or GET SPLIT! While inside, Jem walked on stage to present her film to an audience of fellow Academy members, but the atmosphere shifted, when an obsessed Trésor began slandering her name to an actress seated next to him, and got his sick thrills out of hooting and hollering through her introduction. Finally, the time had come for the 60th Annual Academy Awards and Jem was anxious, but she tried to hold it together while she waited outside on the steps of her mansion with her sisters. Kimber tried to ease the moment with a joke and it proved to work as Jem loosened up and giggled. Several feet away, a white limousine pulled up the driveway and parked at the doorstep. Eventually, the door swung open and out popped Rio, Anthony, an injured Sean...and Jeff Wright who was fresh off of his marriage to Kimber and was free to escort Aja and Raya to the ceremony. Jem and her entourage arrived to a sea of flashing lights, time-ticking cameras, and thousands of hyperactive fans all focused and taking notes on the appearance of her beautiful gown! The Goodyear airship scoped down on the star-studded event as Jem made her way up the red carpet with Rio happily glued to her hip. Inside, the show moved right along with multi-platinum recording artist Lena Lerner and her son Dominic presenting the category for “Makeup!” Kimber quickly grew impatient with the show, but promptly assured her sister that she's sure to win. Then Flint Westwood approached the podium to present the category for “Best Actress!” A hush fell over the room. Jem held her breath. Shana gripped Anthony's arm. Aja squeezed Raya's hand. And Kimber crossed her fingers as Flint read the nominees...only to discover that Jem didn't win! Disheartened by her loss to Geraldine Pathos, Jem lowered her head and applauded her foe as she sat paralyzed with sadness. While on stage to accept her award, the un-thinkable occurred, when Geraldine apologized to Jem in front of the world for her actions on the Harriet Horn show, and Jem was gracious enough to mouth the words “Thank You” to her adversary. She then raised one exquisite heel after the other and stepped forward to the powder room for a good cry with Kimber, along with several other Academy nominees. A minute later, outside in the lobby, Jem stood hand in hand with Rio and proceeded to exit the building...when suddenly, without warning, the consummate actress was approached by a member of the Hollywood Chamber of Commerce with news that she had earned her own celebrity star on Hollywood Boulevard! On that very day, it became clear to everyone that Hollywood Jem was eternal!
Integrity's Design Team has created, from one of my favorite episodes, “Hollywood Jem, Part Two”, an exquisitely unflawed gem that has now become a personal favorite of mine, and I am proud to grace my collection with her superstar presence! Award Night Jem actually started out as an ‘80s prototype doll, among a handful of other characters, but stalled early on before reaching the mass marketing stage. Personally, I regard both the prototype doll and the updated version as equitably attractive. Nevertheless, it's 2016, and we are celebrating the 30th anniversary of Starlight Music's reigning songstress. This goes without saying, but there's NOT ONE FLAW AVAILABLE to critique! Her larger-than-life tresses are the equivalent to pink cotton candy as it too looks deliciously appealing! This time around, Jem chose minimal assistance from Synergy, and after selecting the perfect gown for her special night, she opted for her sisters to glam her up. So, Raya began the styling process on her hair, primping, teasing and tousling ever so lightly, and ending with a precise sweep to the side. And then, Kimber simultaneously rolled out Jem's makeup from the “West End Girls” collection and started off with a light application of pink highlighter, in “Causing a Commotion”, to her brow bones. Raya returned and proceeded with a fair amount of light purple eyeshadow, in “Little Lies”, to cover Jem's lids and lower lash lines, and finished up with a wide oval-shaped wing of dark purple eyeshadow, in “New Sensation”, pressed into the creases of her eyelids. Eager to contribute to her sister's joyous celebration, Shana stepped in and brought it all together with a thick, sharp, black wing across Jem's eyelids with her “Breakout” eyeliner, and then drew a heavy line on her lash lines and smudge it in oh so well! The end result perfectly showcases a strong allure that's guaranteed to captivate the inner soul of any man who stands before her. But there's really no need for Rio to concern himself with losing his glittering prize to another man because Jem's got eyes only for him! Aja took over and applied an even amount of “Paisley Park” lipstick and a few coats of “Perpetually Pink” lipgloss to wet her luscious, award-winning smile. She completed her work with a quick manicure of “Blossomed Petals” nail polish that's identical to the color of her gown, finally perfecting the touches needed for this momentous evening! And while I'm on the subject of her elegant gown, I have no damn choice but to declare the one-piece, rippling garment AN INCOMPARABLE MASTERPIECE! The structure is very impressive and spins my mind into overdrive every time I look at it! I mean, c'mon now, Jem became a Hollywood Walk of Fame recipient the same night while wearing it, so that only adds further sedimental value than originally intended. As she stands before a horde of shutterbugs, Jem shows off the details of this pink glamorous creation by running her fingers across the deep set of ruffles and widespread collar. She then swipes her index finger along the low-cut v-shaped collar of the gold bodice and shows off her thin gold belt with its fuchsia feather. Moving lower, she raises the floral-shaped bottom of her dress up to her knees while exposing her glittery light pink stockings for the paparazzi to immortalize on camera! Jem enjoys tantalizing the press by flashing her million dollar smile while playfully clapping her pink designer heels together as though she's experiencing a dream. There's a particular material used for these amazing heels and I'm not exactly sure what kind. However, I do know that I am crushing HARD on the style and color! I am also taken aback by the craftsmanship to her gold, star-shaped neck clasp. There's only one woman in the WORLD who could model a dress that's unlike any other around—in this case, a dress that's as beautiful as herself—and STILL stand out in a crowd of thousands as the most glamorous human being in attendance, and that is Jem!
I must pay my respects to the Design Team at Integrity Toys for this beautiful gift of art! You can clearly see the level of talent that went into designing this doll and it shows all over, from side to side, front to back, up, down and all around. To be perfectly honest, I am not concerned with rating/comparing her with previous or additional variations because I've now received this version here and she is hands down my favorite! 💐💝
again - with pathos
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www.youtube.com/watch?v=7-pWSHTQOFs
love will tear us apart again - june tabor
Il monumentale gruppo di figure è disposto in diagonale, dall'angolo superiore sinistro a quello inferiore destro del quadro. Se la Madonna è collocata nel suo centro geometrico, il Cristo ne è il fulcro drammatico con la linea spezzata delle sue membra livide investite dalla luce.
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I have had a few opportunities to visit Shanghai and I am never disapointed with the sights. This is a view the Pudong District from across the river. It was late and I had been walking all night and was about to call it a day when I came across this view. I setup my rig and took a few shots right before they literally shut off the lights. I got an image of some technician in a dingy little room throwing a switch and laughing to himself in the dark. I looked around wondering if someone was playing a practical joke on me, but I guess there is no need to show off after 11pm.
("A" Side) Instruction # 46
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
This young man stopped and told me hello, when he realize i was taking a photo of him, then went on doing his work collecting cardboard to earn his life, he was very kind, and looked happy even though he is very poor!
Here there are a picture of these workers at night when they have full (twice their high) their trolley and take the train (that specially run for them and their trolleys) to go out the city:
www.flickr.com/photos/28466129@N02/5962502490/in/set-7215...
Mis imágenes están protegidas por derechos de autor, si está interesado en alguna de éllas, sírvase dirigirse a sobrenivel@yahoo.com.ar
Gracias
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I was only in Beijing for one morning before I had to catch my flight back home so I tried to make the most of it. I was ecstatic to finally see the famous Temple of Heaven, but the sky was a very flat gray so I got a little creative with the processing. Now it is the Temple of Heaven … in space! =P
French postcard by Editions Superluxe, Paris, no. 19. Image: Walt Disney Mickey Mouse S.A.. Publicity still for Bambi (1942). Caption: Bambi gathering all his forces fights against the dogs that attack him from all sides and manages to put them to flight.
Bambi (David Hand, 1942) was the fifth animated feature produced by Walt Disney. It is based on the book Bambi, a Life in the Woods by Austrian author Felix Salten. The film was released by RKO Radio Pictures in 1942, and received three Academy Award nominations: Best Sound (Sam Slyfield), Best Song (for Love Is a Song sung by Donald Novis) and Original Music Score.
The main characters are Bambi, a mule deer; his parents (the Great Prince of the forest and his unnamed mother); his friends Thumper (a pink-nosed rabbit); and Flower (a skunk); and his childhood friend and future mate, Faline. For the movie, Disney took the liberty of changing Bambi's species into a mule deer from his original species of roe deer, since roe deer are not native to North America, and the mule deer is more widespread in the United States.
English film historian Leslie Halliwell wrote that Bambi was "one of Disney's most memorable and brilliant achievements with a great comic character in Thumper and a climactic forest fire sequence that is genuinely thrilling". He concluded that it was "a triumph of the animator's arts. Hal Erickson at AllMovie adds: "In the grand Disney tradition, Bambi is brimming with unforgettable sequences, notably the young deer's attempts to negotiate an iced-over pond, and most especially the death of Bambi's mother--and if this moment doesn't move you to tears, you're made of stone (many subsequent Disney films, including Lion King, have tried, most in vain, to match the horror and pathos of this one scene). The score in Bambi yielded no hits along the lines of "Whistle While You Work", but the songs are adroitly integrated into the action. Bambi was the last of the "classic" early Disney features before the studio went into a decade-long doldrums of disjointed animated pastiches like Make Mine Music."
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
I'll write the true story part about why I have had and loved this table for close to 40 years, but right now, the rain has slowed down a bit and I have some pictures to go shoot. This is for the "Our Daily Challenge" group subject of "Tables". The story part is not required, but it is true and I think you'll like it.
Hi Dave, for the Soul of the photo, I think the soul is this little table with such pathos, love & charm attached to it's history.
OK, it is 8:27 P. M. Pacific Coast Time here in Oregon, USA and if you hold your ears up close to your monitor you might hear me typing up my story. I'm starting it, and my stories are usually pretty short. It shouldn't be too long now.
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This table is warped pretty badly, and it has been moved so many times, the thin legs are wobbly, but it has a rather sad, but also romantic and charming history. Not quite 40 years ago, my children and I moved to Baker Bay at Dorena, Oregon. A gorgeous lake/dam had been made there, but flooding over parts of what was left of Dorena. My kids rode a school bus around the lake and many more miles to their respective schools. I met the parents of one of my daughter's first or second grade classmates. Rachel (I'm pretty sure her name was) came on a bus from a different direction, but Rachel and my daughter became friends. There was a baby either just recently born or on the way soon. I don't recall the baby's name. The parents were Bill and Pat Love (fitting surname for this story).
The Love family had meager means with which to live, but they were resourceful. Bill got scrap lumber (thus the table) from Weyerhaeuser Lumber and built their furniture for their little cabin up the river and on gorgeous Brice Creek. They painted rocks and sold them at some sort of craft fair in Cottage Grove, Oregon. Pat nursed their baby so no cost for formula. They had a used van, and the family treat once a month was to go into Eugene, Oregon (I believe over 80 to 90 mile round trip) and watch some sort of family matinee. I recall their allotment was $25.00 for this entertainment. I should know the mileage more precisely because later on I ended up making the trip many times, but it has been a long time.
I didn't know the Loves well, but what I did know of them was very nice. They were genuine and kind. I think it was 17 miles from my place to theirs but Rachel and my daughter meeting almost in the middle for school. Bill was American. I think his family may have been from the Vallejo, California area, not sure. Pat was Irish. I guess he met her over there. I don't know the details of their meeting. They married, and Bill promised her if she didn't like country living in Oregon, USA that he would take her and their children back to Ireland.
So he built other furniture too, a cool bed, and a bookshelf-desk combination that covered a good portion of their bedroom wall. He built a chicken coop, and so they had eggs cheaply. They had a darling and homey 2 bedroom cabin, with spring-fed water. It had a porch around a good part of the cabin and some property and fruit trees. It was absolutely beautiful there. It bordered Brice Creek, a whitewater beauty. It was romantic and scenic, and charming. They had a gorgeous purebred Irish Setter.
One night Brice Creek flooded. The cabin was built up I'm guessing maybe 8 feet from a dirt floor semi-open basement to the wooden floors of the actual cabin. Huge boulders were tossed by the flood waters up toward the cabin. Bill spent 8 hours (I'm pretty sure he said) pacing on the porch, not knowing where or when his family should try to get away, and where on earth they would go. The scenic paradise had become terrifying and treacherous. The chicken coop was flooded completely away, probably down toward Dorena Lake where I lived. I guess you could say their dreams sort of flooded away too.
Bill managed to rent some sort of backhoe (I wasn't there; so I don't know all the details) and build somewhat of a retaining wall with some of the boulders by moving them back toward the edge of the creek. He managed to build a fairly good barrier. He was a large man and apparently a very good worker, but their idyllic life had been badly blemished and threatened. They were both nervous. Pat told Bill she wanted them all to go live in Ireland. True to his promise, Bill said they would go as a family to Ireland.
There were some summer months left, where no one was worried about the creek flooding, and Bill and Pat approached me with the idea of renting their cabin from them. I guess until they could sell it, or until a relative could come up and remove some of their personal effects. Not sure. It was an even longer drive for me, for groceries and gasoline and entertainment, etc., but it truly was a beautiful spot. Brice Creek didn't normally flood there, and it was heavenly. I had encountered some problems anyway, at the place I rented at Baker Bay; so they talked me into it. Thus I became the proud owner of several pieces of economically homemade furniture, still stamped on the undersides with Weyerhaeuser. Now I believe almost 40 years later that company was bought out or absorbed by International Paper in Springfield, Oregon. I don't know the details or the exact year it happened.
I also became the proud owner of the best dog I ever had, Reilly, a purebred Irish Setter. Reilly was kind of deal-clincher.
My two favorite pieces of furniture that Bill built were the bedroom ones. Unfortunately, at least as far as keeping them, I ended up moving back into Eugene, and getting married. My new husband had all the furniture we needed; so those two pieces got sold. The little table you see in the picture could and did frequently go outside; so I still have it, after many moves and life changes.
When I look at that little table, I don't really dwell of on its faults. I can't even count all the times I've moved it and put it to different uses. I see the story of a loving family, a man who kept his promises, and the charm of the whole tale. Their surname of Love is perfect. I'm forever grateful for the short but enchanting time I got to spend in the cabin on Brice Creek in Disston, Oregon.
THE END
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On reflection, I am going to make about 2 corrections in my story. I believe my daughter and the Love's daughter were in first or second grade, not kindergarten. Also the total distance from Cottage Grove up to the place my children and I had on Baker Bay was probably about 10 miles. The total from Cottage Grove to Disston was about 27 miles; so for me to move up to Disston from Baker Bay would have been an additional 17 miles from Baker Bay, not an additional 27 miles. At any rate, it was really out in the boonies.
(20190915_155115WarpedWobblyDisstontableflickr091519)
This will be a tiny true story in a few minutes. I have to write it. It is going to have a sadder note than most of my stories, kind of a 2 or 3 hankie story, you might say. So, if you don't like any pathos in your stories, then stop right here. The picture right before this will have the same story, but I will only submit one of these photo/stories to the various groups that like them.
The little girl on the guardrail represents me as a child. There are a few problems with her. One is I didn't have brown hair at the age of 5 or 6. I was blonde until age 9 or 10. Two is that my eyes are blue, and hers are not.. Three is that I didn't wear my hair in pigtails. Four is that I was tall, but not that tall. You might be asking yourself, "Self, then why on Earth do you think that represents you?" Well, she looks very sweet, as I did. She has rosy pink cheeks and a cute little smile, as I also did.. She likes bridges as I did from a very young age. She looks very innocent. The main thing that helps her represent me as a little girl is her white blouse and red plaid skirt, which will be the main thing in my story, if you can endure the next 3 or 4 paragraphs first.
I knew my mother didn't touch me very often, but I didn't realize how bereft she was of warmth, giving and receiving hugs and so on until all these years later. Various bouts of poison oak I had were savage. I knew she had tried to prick each horrible blister of poison oak, not getting them all, but trying. She would then apply Calamine Lotion with little cotton Coty brand pads. She still didn't touch me, but she ministered to me. That was when I was 5 or 6. Later when I was 8, 9 and 10 and got other cases of infected Poison Oak, could barely see out of one eye, and my other eye was closed, she did not administer anything at all. She and my Dad left for work 25 miles away. They got home that evening and my mouth was swollen closed all but the tiniest amount. My parents heated Campbell's Vegetable Beef Soup for me, and put it in a Waring Blender so I could manage to drink it through a straw. I shall not forget that. It was warm and comforting and tasted pretty good.
I had thought for most of my life that at least my mother must have held me and caressed me, bathed me, etc., when I was a baby and toddler. No, she held my hand a few times when we walked somewhere, but the family maid, Mildred, took care of me when I was a baby to age 3. After about age 3 and a half, I was left alone with 2 older brothers that my mother was fond of saying had hated me from the day I was born. The pictures of me with my mother show her positioning herself with my brothers, rather than me, or touching me but not close. When I had my own children she sort of held them out from her body, as if she wasn't quite sure what to do with them, or as if she felt they might infect her with something. .
Several times when she wanted me to look nice because company was coming, she curled my hair with a curling iron. She, herself, did not actually touch me. The curling iron surely did. It was so hot, and it burned my scalp. I don't believe she was trying to burn me, but she surely did. I would say "Ow" many times. Each time, she'd say "Sorry" but then she would do it again. I did look nice afterward, and have a picture of myself on our patio with my nice dress, Mary Janes (shoes) and my hard-won curls. There were no hugs.
Bath time involved her running the water and me getting in, and then her tossing about a cup of Tide detergent, the large chunky powdered kind, in the water. It didn't dissolve easily either. Very rough on children's skin! Then she left the room. There were other times when she was pretty cold, but they are not the reason for my story. I'm only telling about some of them; so that the one time she was very tender and warm will stand out for me and my readers as a banner moment in my childhood. I'm close to 70 now, and don't kid yourself, your childhood memories, impressions, etc. stay with you. At least mine did and do.
You probably thought I'd never tie this altogether, but I'm going to. There is one time, a time I cherish, that my mother, though not consciously trying to, was warm. What she was doing was so I would "look nice" for appearances at kindergarten or first grade, not because she had decided I needed some affection. I had on my little red plaid skirt with straps and a white blouse. My white blouse was rather carelessly tucked in, which made it look wrinkled. My mother reached up under my skirt and pulled my white blouse downward until it looked very smooth around my waist. To accomplish this maneuver, she sort of "walked" her hands around my tummy, tugging gently on my blouse until it looked neat as could be. Her hands were warm and gentle, so much so that I wished I could pull some of my blouse back out again; so she would gently tug, tuck and pat again. That's it! That's the whole story of why I like this big dolly with all her innocence, and her blouse that occasionally needs to be tucked in.
THE END
P. S. Most people that see her on the bridge, smile and wave. One lady even rolled her window down and wanted to know if I made her.
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There is something regal about Stanford's campus. Every time I visit, I feel like a country bumpkin who managed to sneak into the palace by hiding in the hay cart. I keep waiting for the palace guards to decent upon me and throw me in the dungeon. Well, until that day comes, I am happy to roam around and take pictures of this beautiful campus.
in the garden
Music: Right Click and select "Open link in new tab"
www.youtube.com/watch?v=yBW443CAnjY
Late November (Alternative Mix (Island Sampler 'El Pea' IDLP1) · Sandy Denny
The methods of madness, the pathos and the sadness
God help you all, the insane and wise
I'm trying to make a better cow picture than my dad, who created a real cult one that stood the test of time. But for him it was a job, for me it's a stupid side project I do with no real stakes. I'll never top the old man.
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein spn 46
Actaeon in Greek mythology, son of the priestly herdsman Aristaeus and Autonoe in Boeotia, was a famous Theban hero. Like Achilles in a later generation, he was trained by the centaur Chiron.
He fell to the fatal wrath of Artemis, but the surviving details of his transgression vary: "the only certainty is in what Aktaion suffered, his pathos, and what Artemis did: the hunter became the hunted; he was transformed into a stag, and his raging hounds, struck with a 'wolf's frenzy' (Lyssa), tore him apart as they would a stag." This is the iconic motif by which Actaeon is recognized, both in ancient art and in Renaissance and post-Renaissance depictions.
Among others, John Heath has observed, "The unalterable kernel of the tale was a hunter's transformation into a deer and his death in the jaws of his hunting dogs. But authors were free to suggest different motives for his death." In the version that was offered by the Hellenistic poet Callimachus, which has become the standard setting, Artemis was bathing in the woods when the hunter Actaeon stumbled across her, thus seeing her naked. He stopped and stared, amazed at her ravishing beauty. Once seen, Artemis got revenge on Actaeon: she forbade him speech — if he tried to speak, he would be changed into a stag — for the unlucky profanation of her virginity's mystery. Upon hearing the call of his hunting party, he cried out to them and immediately transformed. At this he fled deep into the woods, and doing so he came upon a pond and, seeing his reflection, groaned. His own hounds then turned upon him and pursued him, not recognizing him. In an endeavour to save himself, he raised his eyes (and would have raised his arms, had he had them) toward Mount Olympus. The gods did not heed his plea, and he was torn to pieces. An element of the earlier myth made Actaeon the familiar hunting companion of Artemis, no stranger. In an embroidered extension of the myth, the hounds were so upset with their master's death, that Chiron made a statue so lifelike that the hounds thought it was Actaeon.
There are various other versions of his transgression: The Hesiodic Catalogue of Women and pseudo-Apollodoran Bibliotheke state that his offense was that he was a rival of Zeus for Semele, his mother's sister, whereas in Euripides' Bacchae he has boasted that he is a better hunter than Artemis:
ὁρᾷς τὸν Ἀκτέωνος ἄθλιον μόρον,
ὃν ὠμόσιτοι σκύλακες ἃς ἐθρέψατο
διεσπάσαντο, κρείσσον' ἐν κυναγίαις
Ἀρτέμιδος εἶναι κομπάσαντ', ἐν ὀργάσιν.
Look at Actaeon's wretched fate
who by the man-eating hounds he had raised,
was torn apart, better at hunting
than Artemis he had boasted to be, in the meadows.
In François Clouet's Bath of Diana (1558-59) Actaeon's passing on horseback at left and mauling as a stag at right is incidental to the three female nudes.
Further materials, including fragments that belong with the Hesiodic Catalogue of Women and at least four Attic tragedies, including a Toxotides of Aeschylus, have been lost. Diodorus Siculus (4.81.4), in a variant of Actaeon's hubris that has been largely ignored, has it that Actaeon wanted to marry Artemis. Other authors say the hounds were Artemis' own; some lost elaborations of the myth seem to have given them all names and narrated their wanderings after his loss.
According to the Latin version of the story told by the Roman Ovid having accidentally seen Diana (Artemis) on Mount Cithaeron while she was bathing, he was changed by her into a stag, and pursued and killed by his fifty hounds. This version also appears in Callimachus' Fifth Hymn, as a mythical parallel to the blinding of Tiresias after he sees Athena bathing. The literary testimony of Actaeon's myth is largely lost, but Lamar Ronald Lacy, deconstructing the myth elements in what survives and supplementing it by iconographic evidence in late vase-painting, made a plausible reconstruction of an ancient Actaeon myth that Greek poets may have inherited and subjected to expansion and dismemberment. His reconstruction opposes a too-pat consensus that has an archaic Actaeon aspiring to Semele, a classical Actaeon boasting of his hunting prowess and a Hellenistic Actaeon glimpsing Artemis' bath. Lacy identifies the site of Actaeon's transgression as a spring sacred to Artemis at Plataea where Actaeon was a hero archegetes ("hero-founder"). The righteous hunter, the companion of Artemis, seeing her bathing naked in the spring, was moved to try to make himself her consort, as Diodorus Siculus noted, and was punished, in part for transgressing the hunter's "ritually enforced deference to Artemis" (Lacy 1990:42). (Wikipedia).
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See also the album: www.albelli.nl/onlinefotoboek-bekijken/3af1427e-1eae-4620...
Pathos, emotional involvement, passionate participation, is part of the religious existence. The utterances of the psalmist are charged with emotion, are outpourings of emotion. Reading the prophets we are stirred by their passion and enlivened imagination. Their primary aim is to move the soul, to engage the attention by bold and striking images, and therefore it is to the imagination and the passions that the prophets speak, rather than aiming at the cooled approbation of the mind.
-Abraham Joshua Heschel, The Prophets, The Philosophy of Pathos, pg. 38
Knidos (Cnidus)
Ancient City, Turkey
Written By: The Editors of Encyclopaedia Britannica
See Article History
Cnidus, ancient Greek city on the Carian Chersonese, on the southwest coast of Anatolia. The city was an important commercial centre, the home of a famous medical school, and the site of the observatory of the astronomer Eudoxus. Cnidus was one of six cities in the Dorian Hexapolis and hosted the Dorian games every four years. The Cnidians claimed they were of Spartan origin.
First founded on the southern coast of the Reşadiye peninsula, it was moved in c. 330 bc to Deveboynu Burnu (Cape Kriyo), where a small island was artificially joined to the mainland. One of the two harbours thus created served ships of war, the other merchant shipping. Cnidus founded colonies on Lipara, north of Sicily, and at Black Corcyra (modern Korčula, Croatia) in the Adriatic Sea.
After a vain attempt to convert their peninsula into an island, the Cnidians submitted to the Persians soon after 546 bc; they supported Athens in the Delian League against Persia but revolted against Athens in 412. Cnidus became a democracy in the 4th century bc and was under Ptolemaic control in the 3rd century. It was a free city within the Roman province of Asia, enduring until the 7th century ad, when it was abandoned.
C.T. Newton, excavating the site in 1857–59, found a marble statue of the seated Demeter there. Later excavation revealed the axial plan of the ancient city, a few private dwellings, and numerous public buildings. The most significant of these is the Temple of Aphrodite, a circular Doric temple, excavated by Iris C. Love in 1970. At this site Love found the marble base and fragments of the famous statue of Aphrodite sculpted by Praxiteles in the 4th century bc. The statue, one of the most celebrated in classical antiquity, was purchased by the people of Cnidus after the citizens of the Cos had rejected it on account of its nudity.
www.britannica.com/place/Cnidus
www.triphistoric.com/historic-sites/knidos
The Lion of Knidos
www.britishmuseum.org/research/collection_online/collecti...
DEMETER FROM KNIDOS
The sculpture of Demeter, found in her sanctuary at Knidos in 1858, was first recorded in modern times by English travelers in 1812. The inherent pathos of the figure – the deep-set eyes and other facial characteristics – is often associated with works of the 4th century BCE. sculptor Skopas. However, the work is also often attributed to other sculptors, and some sources date the origin of the work to later centuries.
Here, Demeter is shown seated on a throne - the back part and arm-rails have broken away and are missing. Her lower arms and hands are also lost, though she probably once held a libation bowl or torch. The head was carved separately from the body and socketed into the neck. Demeter is portrayed as a model of Greek womanhood - serene, mature, motherly and modestly veiled. It is speculated that the piece may have originally been accompanied by a standing figure, presumably Persephone. It is also speculated that weary in her search, she sits alone.
Historical Context:
The Sanctuary of Demeter at Knidos was laid out at about the same time as the re-founding of the city, around 350 BCE. The sanctuary consisted of a long platform terraced into the side of an acropolis, with spectacular views of the city below and the sea beyond. Many votive sculptures were once displayed within the sanctuary. Most of these survive only as fragments, but this cult statue of Demeter herself is remarkably intact.
www.britishmuseum.org/research/collection_online/collecti...
That's the amazing thing about any of the arts . . . you can "see" the naked soul of the artist/performer. I think any of the arts are "visual" as the humour and pathos is always revealed in some way.
Sculpted marble nude male torso. The legs, from the mid-thigh down, the arms, and the head are missing. Despite this, we can reconstruct the type and pose of this sculpture as it would have originally appeared. The figure is in a state of repose, with the body’s weight supported by the right leg and, simultaneously, by an external element, likely positioned beneath the left arm. This is suggested by the elevated position of the shoulder and the orientation of the remaining portion of the arm. The left leg, bearing no weight, steps forward; the foot would have rested on the ground, roughly in line with the right foot. This external support imparts a pronounced tilt to the torso, thrusting the hip noticeably outward. The left arm - as indicated by the position of the shoulder and the remaining fragment - would have been directed backward, toward the hero’s back. The hand may have rested upon the buttock, in an area now damaged by a break. The head would have been inclined downward and to the left, as suggested by the position of the neck.
The figure’s pose and anatomical treatment suggest that this may be a Roman-era variant of the "resting Heracles" type, a copy of an original by Lysippos (dating to around 320 BCE), best known through the Farnese Heracles, one of the most frequently copied and imitated works from classical antiquity. The Greek master had revitalized the iconographic repertoire surrounding this great hero by depicting him in an entirely new moment and attitude: he appears aged and weary, exhausted from his prodigious feats, unable to stand without the aid of a supporting element (likely his club), while concealing the apples of the Hesperides - the gift of immortality promised to him upon the completion of his assigned labors - behind his back. The great innovation lay not only in the choice of the moment depicted or in the portrayal of a Heracles endowed with emotions - with pathos - but also in the creation of a new visual interplay: the traditional frontality was replaced by a genuine three-dimensionality, imposed upon the viewer by the positioning of the hand that conceals the apples.
This sculpture does not exhibit the colossal scale or the heavy, dramatically rendered musculature of the Farnese Heracles; nevertheless, it appears to reflect the tradition of the Hellenistic Baroque, a copy that, judging by the style of the modeling and the treatment of the pubic hair, may be dated to the Hadrianic period.
Roman, Hadrianic, 2nd century CE.
Height: 69 cm (27.2 in.)
Width: 44 cm (17.32 in.)
Museo Arqueológico Nacional, Madrid, Spain (MAN inv. 2000/134/5)