Depiction Quotes

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You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.
John Berger (Ways of Seeing)
If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.
Italo Calvino (If on a Winter's Night a Traveler)
We depict hatred, but it is to depict that there are more important things. We depict a curse, to depict the joy of liberation.
Hayao Miyazaki
I was tired of seeing the Graces always depicted as beautiful young things. I think wisdom comes with age and life and pain. And knowing what matters.
Louise Penny (A Fatal Grace (Chief Inspector Armand Gamache, #2))
Femininity is depicted as weakness, the sapping of strength, yet masculinity is so fragile that apparently even the slightest brush with the feminine destroys it.
Gwen Sharp
When I realized what the drawing was depicting, I thought I would feel horror-stricken and petrified, but a strange calm had settled over me. I said, “This blackness was in my nightmare. It was coming for me to take me away . . . and I was running, trying to escape.
Misty Mount (The Shadow Girl)
In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Haruki Murakami (1Q84 (1Q84, #1-3))
Recently , crowds of thousands gathered throughout the Muslim world - burning European embassies, issuing threats, taking hostages, even killing people - in protest over twelve cartoons depicting the Prophet Muhammad that were first published in a Danish newspaper. When was the last atheist riot?
Sam Harris (Letter to a Christian Nation)
There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are-the quicker to take fright-the more violent they pray that every storm will be … Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms-they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeichi was right: they had dared to paint pictures of devils.
Osamu Dazai (No Longer Human)
Algebra did not simply ease how numbers were depicted or calculated, but fundamentally revolutionized how to operate efficiently.
Mohamad Jebara (The Life of the Qur'an: From Eternal Roots to Enduring Legacy)
Anyone who has chanced like me to roam through desolate mountains and studied at length their fantastic shapes and drunk the invigorating air of their valleys can understand why I wish to describe and depict these magic scenes for others.
Mikhail Lermontov (Un Héros de notre temps. (précédé de) La Princesse Ligovskoï)
Patriotism is too deep a feeling to depict in the posing for a photograph.
Charlie Chaplin
What most moved me in his letter was the sense of frustration that permeated the lieutenent's words: the frustration of never quite being able to depict or explain anything to his full satisfaction.
Haruki Murakami (The Wind-Up Bird Chronicle)
They take the circuits out of people’s brains that make it possible for them to think for themselves. Their world is like the one that George Orwell depicted in his novel. I’m sure you realize that there are plenty of people who are looking for exactly that kind of brain death. It makes life a lot easier. You don’t have to think about difficult things, just shut up and do what your superiors tell you to do.
Haruki Murakami (1Q84 (1Q84, #1-3))
Despite being depicted in innumerable cartoons as apelike brutes living in caves, Neanderthals had brains slightly larger than our own. They were also the first humans to leave behind strong evidence of burying their dead and caring for their sick.
Jared Diamond (Guns, Germs, and Steel)
Now, there is a tendency at a point like this to look over one’s shoulder at the cover artist and start going on at length about leather, tightboots and naked blades. Words like ‘full’, ‘round’ and even ‘pert’ creep into the narrative, until the writer has to go and have a cold shower and a lie down. Which is all rather silly, because any woman setting out to make a living by the sword isn’t about to go around looking like something off the cover of the more advanced kind of lingerie catalogue for the specialized buyer. Oh well, all right. The point that must be made is that although Herrena the Henna-Haired Harridan would look quite stunning after a good bath, a heavy-duty manicure, and the pick of the leather racks in Woo Hun Ling’s Oriental Exotica and Martial Aids on Heroes Street, she was currently quite sensibly dressed in light chain mail, soft boots, and a short sword. All right, maybe the boots were leather. But not black.
Terry Pratchett (The Light Fantastic (Discworld, #2; Rincewind, #2))
The book depicts thoughts, unveils imaginings, answers unspoken questions, clarifies doubts, resolves arguments, and finally reveals the very atoms of the most curiosity-driven desire.
Miguel de Cervantes Saavedra
The situations depicted in the Book of Changes are the primary data of life -- what happens to everybody, every day, and what is simple and easy to understand.
Hellmut Wilhelm
A mere enumeration of government activity is evidence -- often the sole evidence offered -- of "inadequate" nongovernment institutions, whose "inability" to cope with problems "obviously" required state intervention. Government is depicted as acting not in response to its own political incentives and constraints but because it is compelled to do so by concern for the public interest: it "cannot keep its hands off" when so "much is at stake," when emergency "compels" it to supersede other decision making processes. Such a tableau simple ignores the possibility that there are political incentives for the production and distribution of "emergencies" to justify expansions of power as well as to use episodic emergencies as a reason for creating enduring government institutions.
Thomas Sowell (Knowledge And Decisions)
In order to depict a man one must understand him, and to understand him one must be like him; in order to portray his psychological activities one must be able to reproduce them in oneself. To understand a man one must have his nature in oneself.
Otto Weininger (Sex and Character: An Investigation of Fundamental Principles)
The largest wall in the living room is full of framed photos, depicting stories of war, peace, friendship, and love—everything in the last six decades displayed on a single wall.
Misba (The Oldest Dance (Wisdom Revolution, #2))
In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevksy depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Haruki Murakami (1Q84 (1Q84, #1-3))
Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Haruki Murakami (1Q84 (Vintage International))
Their world is like the one that George Orwell depicted in his novel. I’m sure you realize that there are plenty of people who are looking for exactly that kind of brain death. It makes life a lot easier. You don’t have to think about difficult things, just shut up and do what your superiors tell you to do.
Haruki Murakami (1Q84 (Vintage International))
The creation of artificial realities is not much different from how people enjoy today's movies depicting life in Ancient Egypt, life during the Middle Ages, depiction of various wars, or life during the Renaissance.
Laurence Galian (Alien Parasites: 40 Gnostic Truths to Defeat the Archon Invasion!)
The authors rarely depicted themselves or their companions as the agents of an imperialist system. They were consumed with their own daily struggles and ambitions—with working the ship, with gaining promotions and securing money for their families, and, ultimately, with survival. But it is precisely such unthinking complicity that allows empires to endure. Indeed, these imperial structures require it: thousands and thousands of ordinary people, innocent or not, serving—and even sacrificing themselves for—a system many of them rarely question.
David Grann (The Wager: A Tale of Shipwreck, Mutiny and Murder)
This quantum leap served to wrap the Black experience up in a few paragraphs and a tidy bow, never really explaining why, one hundred years after the abolition of slavery, King had to lead the March on Washington in the first place. We were not actors but acted upon. We were not contributors, just recipients. White people enslaved us, and white people freed us. Black people could choose either to take advantage of that freedom or to squander it, as our depictions in the media seemed to suggest so many of us were doing.
Nikole Hannah-Jones (The 1619 Project: A New Origin Story)
open the Israeli map, and again study the route that Israelis usually take to the coast. So, after descending to the bottom of the valley on Highway 50, one must turn right onto Highway 1, and stay on it for a long time, without turning right or left. I examine the area along Highway 1, which, according to the map, appears to be primarily populated by settlements. The only two visible Palestinian villages are Abu Ghosh and Ein Rafa. I go back and open the map, which depicts Palestine until 1948, and let my eyes wander over it, moving between the names of the many Palestinian villages that were destroyed after the expulsion of their inhabitants that year.
Adania Shibli (Minor Detail)
For all the sorrows and joys of love depicted in Hindi cinema, men and women are rarely seen talking to each other about the terms of their love and intimacy. They recite poetic praise for their beloved, sing songs, dance in coordination, hold hands and perform soft porn, but remain comically squeamish when it comes to conversing about sex.
Shrayana Bhattacharya (Desperately Seeking Shah Rukh: India's Lonely Young Women and the Search for Intimacy and Independence)
none of them had ever heard an explosion. Explosions seemed common because films so often depicted them, but explosions were rare,
Rumaan Alam (Leave the World Behind)
Halfway through the second term of Franklin Roosevelt, the New Deal braintrusters began to worry about mounting popular concern over the national debt. In those days the size of the national debt was on everyone’s mind. Indeed, Franklin Roosevelt had talked himself into office, in 1932, in part by promising to hack away at a debt which, even under the frugal Mr. Hoover, the people tended to think of as grown to menacing size. Mr. Roosevelt’s wisemen worried deeply about the mounting tension ... And then, suddenly, the academic community came to the rescue. Economists across the length and breadth of the land were electrified by a theory of debt introduced in England by John Maynard Keynes. The politicians wrung their hands in gratitude. Depicting the intoxicating political consequences of Lord Keynes’s discovery, the wry cartoonist of the Washington Times Herald drew a memorable picture. In the center, sitting on a throne in front of a Maypole, was a jubilant FDR, cigarette tilted almost vertically, a grin on his face that stretched from ear to ear. Dancing about him in a circle, hands clasped together, their faces glowing with ecstasy, the braintrusters, vested in academic robes, sang the magical incantation, the great discovery of Lord Keynes: “We owe it to ourselves.” With five talismanic words, the planners had disposed of the problem of deficit spending. Anyone thenceforward who worried about an increase in the national debt was just plain ignorant of the central insight of modern economics: What do we care how much we - the government - owe so long as we owe it to ourselves? On with the spending. Tax and tax, spend and spend, elect and elect ...
William F. Buckley Jr.
The first requirement of art is as follows: one must always depict objects so that the reader can perceive their true form. For example, if I want to portray a house, I must see to it that the reader conceives of it as a house, and as neither a hovel nor a palace. If I want to depict an ordinary person, I must see to it that the reader conceives of him as neither a dwarf nor a giant.
Nikolai Chernyshevsky (What Is to Be Done?)
The artistic creation of the poet, painter, photographer, and writer is a reflection of the artist’s inner world. The agenda of consciousness that spurs all forms of art is not to represent the outward appearance of things, but to portray its inward significance to the creator. A great poem, painting, photograph, and written composition fully express what the creator feels, in the deepest sense, about the distinctively depicted image that captured their imagination.
Kilroy J. Oldster (Dead Toad Scrolls)
He was particularly dissatisfied with Aristotle’s insistence that tragedy should invariably depict the downfall of a flawed or ‘middling’ hero, insisting instead that what made a tragedy was the severity of the threat rather than the play’s actual outcome.
Jean Racine (Cinna / The Misanthrope / Andromache / Phaedra)
In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was teh way of the world that Dostoevksy depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Haruki Murakami (1Q84 (1Q84, #1-3))
He depicted a world in which two moons hung side by side in the evening eastern sky, the people living in that world, and the time flowing through it. “Wherever this gospel is preached in the whole world, what this woman has done will also be told as a memorial to her.
Haruki Murakami (1Q84 (1Q84, #1-3))
And I was a Child again, watching the bright World. But the Spell broke when at this Juncture some Gallants jumped from the Pitt onto the Stage and behaved as so many Merry-Andrews among the Actors, which reduced all to Confusion. I laugh'd with them also, for I like to make Merry among the Fallen and there is pleasure to be had in the Observation of the Deformity of Things. Thus when the Play resumed after the Disturbance, it was only to excite my Ridicule with its painted Fictions, wicked Hypocrisies and villainous Customs, all depicted with a little pert Jingle of Words and a rambling kind of Mirth to make the Insipidnesse and Sterility pass. There was no pleasure in seeing it, and nothing to burden the Memory after: like a voluntarie before a Lesson it was absolutely forgotten, nothing to be remembered or repeated.
Peter Ackroyd (Hawksmoor)
The goal of contemplating the processes depicted in the mandala is that the yogi shall become inwardly aware of the deity. Through contemplation, he recognizes himself as God again, and thus returns from the illusion of individual existence into the universal totality of the divine state.
C.G. Jung (The Archetypes and the Collective Unconscious (Collected Works, Vol 9i))
I want you to know I have never loved anyone like I love you. More than Darcy loved Elizabeth or Heathcliff loved Cathy. I just don’t want to make you a widow.” “I never really understood why Brontë is considered to be a romance writer. We were required to read Wuthering Heights in high school and I always believed that her novel showcased the bleakest aspects of human nature. The story provided readers with a small yet unforgettable glimpse into the depths of human cruelty. Personally, I never considered the story romantic because the love shared between Cathy and Heathcliff was fatal, not just for themselves but for those around them. Their souls were incompatible, and they were a toxic pairing. Despite their love, passion, jealousy, and desire for connection, they were unable to recognize this fact.” “I was never a fan of Victorian romance novels.” “It was never one of my favorites. It’s often viewed as one of the great romance novels of all time, but I think it represents something darker: the fatal, selfish side of love, obsession, and abuse. To this day, I have not encountered a more accurate depiction of how love can become selfish.” “Why do you say that?” Xuan asked. “Because I think you have to love someone in the way that I love you to truly understand what love means... and to understand how wrong the story is. My soul and yours are the same in a way that Catherine and Heathcliff’s could never be. Widow or not, I will never stop loving you, Xuan. You have mesmerized me. My very soul has been entangled completely by you over these past three years. If Brontë or Austen could write the greatest love story of all time they’d write our story. And whether you marry me or not, how I feel about you will never change.
Kayla Cunningham (Fated to Love You (Chasing the Comet Book 1))
You want gruesome? She also supposedly ripped out the Lord Ruler’s insides. I’ve seen it depicted in several illuminated manuscripts.” “Kind of graphic for a religious-type story.” “Actually, they’re all like that. I think they have to put in lots of exciting bits to make people read the rest.
Brandon Sanderson (The Bands of Mourning (Mistborn, #6))
In this world, there is no absolute good, no absolute evil,” the man said. “Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov.
Haruki Murakami (1Q84 (Vintage International))
The castle’s chapel has been remade. The glass-and-gold chandelier still floats in the center of the room, the wires holding it up too thin to be seen by candlelight. All these electric miracles. The windows depicting the angels praising Our Lady have remained intact, as have the panels to Saint Theresa and Saint Jerome. The others—and the enameled paintings in the cupola—have been replaced and reimagined according to the New Scripture. There is the Almighty speaking to the Matriarch Rebecca in the form of a dove. There is the Prophet Deborah proclaiming the Holy Word to the disbelieving people. There—although she protested—is Mother Eve, the symbolic tree behind her, receiving the message from the Heavens and extending her hand filled with lightning. In the center of the cupola is the hand with the all-seeing eye at its heart. That is the symbol of God, Who watches over each of us, and Whose mighty hand is outstretched to both the powerful and the enslaved.
Naomi Alderman (The Power)
Often we are led to a wall, it is too high, we cannot get over it and we stand there and stare at it. Rationalism says, “There is no getting over it, just go away.” Yet natural development has led the patient up to an almost impossible situation to show him that this is the end of his rational solutions. It is meant that he should get there, and perhaps stay there, make roots and grow like a tree; in time overcome the obstacle, grow over the wall. There are things in our psychology that cannot be answered today. You may be up against a stone wall but you should stay there and grow, and in six weeks or a year you have grown over it. The I Ching expresses that beautifully. A similar situation which looks quite hopeless is depicted thus: “a goat butts against a hedge and gets its horns entangled.” But in the next line: “The hedge opens; there is no entanglement/ Power depends upon the axle of a big cart.” So if you could stop butting against the fence you would not get your horns entangles, and presently you would have the power of a cart with four wheels. There is another way in nature, the way of a tree…The tree stands still and grows and makes roots and eventually overcomes the obstacle. [The Seminars. Volume One, Dream Analysis: Notes of the seminar given in 1928-30. p.249]
C.G. Jung
What I can claim is that no other work of mine depicts virtue with greater prominence: here the slightest misdemeanour is severely punished; the mere thought of wrongdoing is viewed with as much horror as the enactment of it; lapses that derive from love are treated as absolute failings; the passions are represented only to demonstrate the destructive anarchy to which they give rise; and vice is everywhere portrayed in colours which cause its ugliness to be known for what it is and abhorred.
Jean Racine (Cinna / The Misanthrope / Andromache / Phaedra)
In this world, there is no absolute good, no absolute evil,” the man said. “Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed,
Haruki Murakami (1Q84 (Vintage International))
In this world, there is no absolute good, no absolute evil,” the man said. “Good and evil are not fixed, stable entities but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.
Haruki Murakami (1Q84 (Vintage International))
The on-screen depiction of oral sex performed on women has consistently earned movies an NC-17 rating – Blue Valentine, Boys Don’t Cry, and Charlie Countryman are a few that come to mind. The same standard has certainly not been applied to on-screen blow jobs. I often think of 2013s Lovelace, a biopic about the star of the 1972 porn film Deep Throat. This was an entire movie dedicated to fellatio, and to extreme sexual violence, and even that was given a mild R. Sure, let the kids watch a porn star get repeatedly raped, but female desire? No, no, no.
Amanda Montell (Wordslut: A Feminist Guide to Taking Back the English Language)
Eating a meal in Japan is said to be a communion with nature. This particularly holds true for both tea and restaurant kaiseki, where foods at their peak of freshness reflect the seasonal spirit of that month. The seasonal spirit for November, for example, is "Beginning Anew," because according to the old Japanese lunar calendar, November marks the start of the new tea year. The spring tea leaves that had been placed in sealed jars to mature are ready to grind into tea. The foods used for a tea kaiseki should carry out this seasonal theme and be available locally, not flown in from some exotic locale. For December, the spirit is "Freshness and Cold." Thus, the colors of the guests' kimonos should be dark and subdued for winter, while the incense that permeates the tearoom after the meal should be rich and spicy. The scroll David chose to hang in the alcove during the tea kaiseki no doubt depicted winter, through either words or an ink drawing. As for the flowers that would replace the scroll for the tea ceremony, David likely would incorporate a branch of pine to create a subtle link with the pine needle-shaped piece of yuzu zest we had placed in the climactic dish. Both hinted at the winter season and coming of New Year's, one of David's underlying themes for the tea kaiseki. Some of the guests might never make the pine needle connection, but it was there to delight those who did.
Victoria Abbott Riccardi (Untangling My Chopsticks: A Culinary Sojourn in Kyoto)
At some point the future becomes reality. And then it quickly becomes the past. In his novel, George Orwell depicted the future as a dark society dominated by totalitarianism. People are rigidly controlled by a dictator named Big Brother. Information is restricted, and history is constantly being rewritten. The protagonist works in a government office, and I'm pretty sure his job is to rewrite words. Whenever a new history is written, the old histories all have to be thrown out. In the process, words are remade, and the meanings of current words are damaged. What with history being rewritten so often, nobody knows what is true anymore. They lose track of who is an enemy and who an ally. It's that kind of story.
Haruki Murakami (1Q84 (1Q84, #1-3))
The prudent restraint of a blameless conscience puts such a bandage over Epimetheus’ eyes that he must blindly live his myth, but ever with the sense of doing right, because he always does what is expected of him, and with success ever at his side, because he fulfils the wishes of all. That is how men desire to see their king, and thus Epimetheus plays his part to the inglorious end, never forsaken by the spine-stiffening approval of the public. His self-assurance and self-righteousness, his unshakable confidence in his own worth, his indubitable “right-doing” and good conscience, present an easily recognizable portrait of the extraverted character as depicted by Jordan. Let us hear how Epimetheus visits the sick Prometheus, desiring to heal his sufferings:
C.G. Jung (Collected Works of C. G. Jung, Volume 6: Psychological Types (The Collected Works of C. G. Jung Book 16))
Communism, from which everything that is useful has developed, all our wealth, all that is noble in the hearts of men, will be set up again. Communism, of which the great philosophers like Plato have dreamt; Communism which was the seed and aim of the early Christians; Communism which is described and depicted in the sacred pictures of all great religions; Communism, for which all the poor and oppressed classes have struggled throughout the period of private ownership up to our own times; Communism which was imagined by our Utopists; for which our comrades of all lands have given their lives; the Communism which our great leader, Karl Marx, foresaw, knew, and understood, the modern Communism based on scientific knowledge, of which he laid the foundation stone; this now comes forth in all its wonder and beauty.
Herman Gorter (The World Revolution)
The anima is a personification of all feminine psychological tendencies in a man’s psyche, such as vague feelings and moods, prophetic hunches, receptiveness to the irrational, capacity for personal love, feeling for nature, and—last but not least—his relation to the unconscious. It is no mere chance that in olden times priestesses (like the Greek Sibyl) were used to fathom the divine will and to make connection with the gods. A particularly good example of how the anima is experienced as an inner figure in a man’s psyche is found in the medicine men and prophets (shamans) among the Eskimo and other arctic tribes. Some of these even wear women’s clothes or have breasts depicted on their garments, in order to manifest their inner feminine side—the side that enables them to connect with the “ghost land” (i.e., what we call the unconscious).
C.G. Jung (Man and His Symbols)
At the time, many Americans believed that the economic crisis was so dire as to require the new president to assume the powers of a dictator in order to avoid congressional obstructionism. “The situation is critical, Franklin,” Walter Lippmann wrote to Roosevelt. “You may have no alternative but to assume dictatorial powers.”31 Gabriel Over the White House, a Hollywood film coproduced by William Randolph Hearst and released to coincide with the March 1933 inauguration, depicted a fictional but decidedly Rooseveltian president who, threatened with impeachment, bursts into a joint session of Congress. “You have wasted precious days, and weeks and years in futile discussion,” he tells the assembled representatives. “We need action, immediate and effective action!” He declares a national emergency, adjourns Congress, and takes control of the government
Jill Lepore (These Truths: A History of the United States)
The bird/snake Goddess represents the continuum of birth, death, and re-birth. The realms of the bird and snake cover all of the worlds. Birds soar in the heavens while some birds also occupy the waters; snakes live on the earth and in the Underworld, and likewise, water snakes occupy the waters. Both bird and snake embody graphic depictions of birth, since both are oviparous. Both creatures represent regeneration as well, since birds molt and snakes shed their skin. In Neolithic Europe, death and rebirth were tied together in the tomb which served as a ritual place for rebirth: the tomb could also represent the womb. In her death aspect, a Goddess such as Medusa turns people to stone—a form of death, since all human activity ceases for those thus ossified. Read against iconographies of the bird/snake goddesses, one can identify ways in which the Underworld Goddess, the Goddess of death, gives birth to life. Like Ereshkigal, with her leeky hair, Medusa, with her snaky hair, is also a birth-giver. But in Medusa’s case, she gives birth as she is dying, whereas in the earlier, Sumerian myth, the process of death led to regeneration; the Goddess of the Underworld did not have to die in the process of giving birth; she who presided over death presided over rebirth. The winged snake Goddess, before Perseus severs her head, is whole; in prehistory, she would have been a Goddess of all worldly realms. When Medusa’s head is severed, she becomes disembodied. Disembodied wisdom is very dangerous. Hence, she becomes monstrous. It is her chthonic self which the classical world acknowledges: Medusa becomes the snaky-haired severed head, a warning to all women to hide their powers, their totalities. This fearsome aspect goes two ways: she can destroy, but she also brings protection. In patriarchal societies, the conception of life and death is often perceived as linear rather than circular.
Miriam Robbins Dexter
This copper engraving by Matthäus Merian the Elder from 1632 depicts a printing workshop. Merian is best known for his townscapes, but here it is the interior world of books that receives his attention. Printing was the German art and it was Germans who introduced it almost everywhere
David Blackbourn (Germany in the World: A Global History, 1500-2000)
Napoleon was unlucky that his time in power coincided with the flourishing of the first fully professional British political caricaturists – James Gillray, Thomas Rowlandson and George Cruikshank – still among its greatest exponents, who all fastened on him as their victim. Gillray fought in the Duke of York’s Flanders campaign and never saw Napoleon, but virtually single-handedly created the image of him as physically small – ‘Little Boney’. Yet even the British caricaturists never reached the level of pure loathing achieved by the Russian Ivan Terebenev or the Prussian Johann Gottfried Schadow, let alone the Bavarian Johann Michael Voltz, whose caricature The Triumph of the Year 1813 depicted Napoleon’s head entirely composed of corpses.52 Of course there were also pro-Napoleon engravings on sale in London for as much as 2s 6d in 1801, a reminder that he had his British admirers.53 Yet overall, British Francophobia easily matched French Anglophobia. The market for highly abusive prints of Napoleon was much larger than for positive images of him, and the standard work on English anti-Napoleonic caricature and satire covers two full volumes, even without
Andrew Roberts (Napoleon: A Life)
He had the oddest feeling of disappearing as he spoke, of fading into the background of a painting depicting a story which must have been old as history. And perhaps it was the drink, but he was fascinated by the way he seemed to drift outside himself, to watch from the awning as her hiccupping sobs and his murmurs mingled, floated, and became puffs of condensation against the cold stained-glass windows.
R.F. Kuang (Babel)
Cleopatra the Alchemist, who is believed to have lived in Alexandria around the third or fourth centuries CE, is one of four female alchemists who were thought to have been able to produce the rare and much-sought-after philosopher’s stone. She is a foundational figure in alchemy, and made great use of original imagery which reflects conception and birth — representing the renewal and transformation of life. She also experimented with practical alchemy (the forerunner of modern chemistry) and is credited by some with having invented the alembic, an apparatus used for distillation. Her mentor was Maria the Jewess, who lived in Alexandria sometime between the first and third centuries CE; she is similarly credited with the invention of several kinds of chemical apparatuses and is considered to be the first true alchemist of the Western world. In 1964, the great surrealist artist Leonora Carrington painted Maria, depicting her as a woman-lion chimera with breasts exposed and hair wildly flailing around her, as she weaves magical gold-summoning spells. Actually, female alchemists in Greco-Roman Egypt weren’t uncommon, though they were mostly preoccupied with concocting fragrances and cosmetics. In fact, it was a collective of female alchemists in ancient Egypt who invented beer, setting up an unsurprisingly booming business by the Nile. This is all a far cry from the popular image of an alchemist: that of a lavishly dressed and usually bearded man in a medieval laboratory, bending over a fire and surrounded by all manner of arcane contraptions, trying to turn lead into gold.
Sharon Blackie (Hagitude: Reimagining the Second Half of Life)
Museums of primitive art are filled with masks, figurines, bas-relief sculptures, all looted from all over the world and robbed of their meanings. For those who created them, life resided not in the object itself, but rather in the spirit that inspired it. A corpse, even one artistically entombed, is still a dead body. They are no longer works of art, but simply objects. They are beautiful, whereas they should be alive, From time immemorial, humans have sculpted to magnify their gods. There is a reason why some religions are against any depiction of their gods while others are committed to the practice. There is some form of highly human insolence in recreating the god that created you, and there is a risk of adoring the tangible representation in itself instead of the discarnate deity. That is what sculpture is: both a tribute and a challenge to the gods. Some spiritualities tolerate this ambivalence, others don't. Others yet use representations to further tighten control over their flock and guarantee their submissiveness. They select the artists and dictate the dogma they should represent. Sculpture is both the easiest and the most delicate of art forms. It is more than just hewing a form out of a compact block, or reproducing a model: you have to breathe life into It. That is not something you can learn or improvise. There is always some part of yourself that you infuse into the material. In our modern world, where art is a business like any other, techniques are taught, but the magic, on the other hand, is still a gift, midway between bliss and suffering.
Hemley Boum (Days Come and Go)
If you were a gentile who was being told repeatedly, explicitly and implicitly, that your heritage, your customs, and your forms of piety were all the negative results of abandoning the one true God, you might very well ask yourself what you needed to do in order to be saved.29 Many gentiles who heard this message likely rejected it as an inaccurate and unfair depiction of the gentile condition, but if they accepted it, they might naturally have found themselves wanting to be anything but a gentile. It’s into this Jewish understanding of the gentile problem that Paul interjects his message about Jesus the Messiah.
Matthew Thiessen (A Jewish Paul: The Messiah's Herald to the Gentiles)
In other words, the poem is never an escape, it’s a return to a reality that is actually there. Exactly! It’s truly a returning device for me to be able to see these things again. And I think it’s also a beam that sheds light on things that I sometimes—I’m not talking about myself as a poet, but as a reader, as a person—see as normal, but these things are not normal. When I read and see things depicted in a poem that resemble what I see in my garden or in the street, I realize that we are living on the same planet as Wordsworth. The lemon in a poem, it might be the same lemon I saw on the tree; when he’s talking about the sun, it’s the same sun. I’m invited to notice and enjoy things that I usually can’t see when I’m afraid.
Mosab Abu Toha (Things You May Find Hidden in My Ear: Poems from Gaza)
AUTHOR’S NOTE Although I had a true-life relative named Robert Stephens who died at the Dozier School for Boys in Marianna, Florida, in the 1930s, The Reformatory is a work of fiction. None of the characters, even young Robert Stephens himself, depict the lives and histories of real people. Gracetown is fictitious. I wrote this novel to honor the memory of Robert Stephens, so I depicted Redbone’s stabbing as an homage to Robert’s purported stabbing death in 1937 while he was imprisoned at Dozier. Robert’s earache reflects what University of South Florida forensic anthropologist Erin Kimmerle revealed to me about his remains, which were unearthed in 2015: he had an ear infection so severe that she could see evidence of it nearly eighty years later. I interviewed family members and survivors of the Dozier School, but no one I interviewed actually knew Robert Stephens or his parents because he died so long ago. His story in this novel is entirely fiction, including the persecution of his father, Robert Stephens, Sr. But I wanted to give Robert Stephens a happier ending. This character of Warden Fenton J. Haddock is also entirely fictitious. I created Haddock as an amalgam of a system of violence in children’s incarceration—but the truth is that no one person can explain away the reported events at the Dozier School, or the Alabama Industrial School for Negro Children, or the Indigenous “schools” in Canada where so many children were buried. No one person can be blamed for our nation’s current nightmare of mass incarceration. The Reformatory has a central villain, but the actual villain is a system of dehumanization.
Tananarive Due (The Reformatory)
The hidden room was large and open, desks and tables laden throughout. Stained glass windows, depicting various scenes of evil and torture, were evenly spaced along the beige brick walls, bringing in a warm array of light over the space. The cobwebbed chandelier above them glinted as the light hit it, reminding Evie of the severed heads still hanging from the rafters below. She really hoped that scream from the torture chambers wasn’t another head about to be displayed as well.
Hannah Nicole Maehrer (Assistant to the Villain (Assistant to the Villain, #1))
The depiction on Shalmaneser’s “Black Obelisk” from Calah of Jehu prostrating himself before the Assyrian king is another “historical first”:
Eckart Frahm (Assyria: The Rise and Fall of the World's First Empire)
This kind of eclectic stance also suggests a simple yet effective definition for science fiction: it depicts the future, whether in a stylized or realistic manner.
Ann VanderMeer (The Big Book of Science Fiction)
I'm sorry you feel so threatened by depictions of fictional men doing more than the bare minimum.
Amy Lea (Exes and O's (The Influencer, #2))
Officially, an archetype is a universal pattern of energy that depicts an attitude, a set of behaviors, and a worldview. Each archetype has certain strengths and weaknesses. When you recognize and take responsibility for your primary archetypes, you become more whole, mature, and authentic.
Georgina Cannon (Your Guide to Self-Discovery: Twenty Ways to Find the True You)
Out of a bleak world of enmity and despair had come a tall, blond, blue-eyed Texan who loved Russia and its music with humble reverence. He had old-fashioned courtliness, a touchingly eager manner, and a spectacular way with the piano that transported them to a half-remembered past. Music that depicted the many cruelties and brutalities of that past was not for him: the Russia he summoned up with his hands was a place of magnificence, beauty, and romance.
Nigel Cliff (Moscow Nights: The Van Cliburn Story-How One Man and His Piano Transformed the Cold War)
Of the early founders, the most eminent proponent of physical geography as a scientific entity was undoubtedly the German polymath Alexander von Humboldt. On his many travels, he combined observations with measurements of temperature, pressure, and the Earth’s magnetic field, and made generalizations about the geographical distribution of vegetation, global-scale patterns of temperature (depicted by isotherms on maps), the ways in which temperature falls and vegetation varies with increasing altitude (on Tenerife in the Canary Islands, for example), the alignment of volcanoes, and the course of ocean currents. In his major works, written around the middle of the 19th century, such as Cosmos: A Sketch of a Physical Description of the Universe , published in 1849, he emphasized not only relationships within the natural geo-ecosphere but also linkages to human societies. A year earlier, Mary Somerville, based at the University of Oxford, published Physical Geography and defined the subject as ‘a description of the Earth, the sea and the air, with their inhabitants animal and vegetable, of the distribution of these organized beings and the causes of that distribution’.
John A. Matthews (Geography: A Very Short Introduction)
You were a hero,” Joan said. “Not just a hero. You were a legend. Like King Arthur.” Nick went to laugh, but the uncertain amusement died on his face when he saw that Joan wasn’t laughing with him. “You can’t be serious,” he said. “My grandmother used to tell me bedtime stories about you,” Joan said. “People aren’t afraid of heroes.” It wasn’t funny, but Joan heard her breath come out hard. For a moment, he looked confused, and then understanding. put a shadow in his eyes. “Monsters are.” “You were a hero,” Joan said, needing him to understand. “You were more than just a hero. You were the hero. People told stories about you. Made art depicting you.
Vanessa Len (Never a Hero (Monsters, #2))
Without accurate depictions of our front lines, reliable information with which to make strategic decisions, and—most importantly—veracious details to document our history for the good of future generations, we’re doomed, not only as a kingdom but as a society.
Rebecca Yarros (Fourth Wing (The Empyrean, #1))
Although the stories in Jesus's parables are about people, the real plot is God. They are revelatory, revealing the heart of God. They teach us that the divine mystery cannot be pinned down or figured out by human projections and expectations. It is dangerous to suppose that God must feel and think as we do! The parables try to move us beyond that temptation. They show us a God whose heart is full of surprises and who has perspectives far beyond ours. This is depicted with unequivocal clarity in the parable of the prodigal son - none of Christ's listeners could have anticipated the Father's reaction, in the parable of the vineyard workers - who would have surmised that the last workers would receive the same pay as the first ones?, and in the parable of the good Samaritan - who would have foretold that the priest would pass by and the enemy, the Samaritan, would stop?
Ronald Rolheiser (The Shattered Lantern: Rediscovering a Felt Presence of God)