Writing was created in response to the need to communicate over long distances in trade and, initially, was focused on the purely practical aspects of record-keeping. Scribes in ancient Mesopotamia recorded what commercial goods had been shipped to which destination, their quantity, purpose, and cost.
For decades, we smallfolk have been told that goodness is naïve, that moral grayness is sophistication, and cynicism is cleverness. Turns out, we do not want it. Most of us can only take an endless string of villains, liars, and normalized nastiness for so long. Our battered nervous systems want a hero to root for who would not lie to us or betray us.
I wanted to write a book about how the smartphone changed the world, but the more I researched, the clearer it became that phones were actually the latest step in this evolution of storytelling technology that stretches all the way back to prehistoric times.
Are heroes real, or are they simply stories we tell ourselves? Either heroes are objectively real-brave people who perform extraordinary acts of courage and sacrifice-or heroism is merely in our heads, a social construction shaped by culture, media, and wishful thinking. This debate shows up everywhere: in classrooms, in popular culture, and even among scholars who study heroism for a living.
At first sight, Winslow Homer's " The Brush Harrow," which depicts two young boys, a horse, and a harrow against an arid landscape, evokes a feeling of somber isolation - but it's hard to pinpoint why. During a talk by curator Horace D. Ballard at the Harvard Art Museums on Jan. 29, visitors learned that Homer painted the scene in 1865, as the Civil War was ending, making the emotional underpinnings of the work clearer.
In 2017, New Zealand artist Rachel Smythe started publishing the webcomic Lore Olympus on her Tumblr page. It was a lush, watercolor reimagining of the story of Hades and Persephone in a world where Hades is a sensitive but guarded romantic hero dressed in business suits, and Persephone is a bright-pink young woman whose hair reveals her emotions. The bright colors of Lore Olympus will be reflected in an animated series.
Two Chinese Artists Created This Terrifying Hyper-realistic Sculpture Of The Falling Angel An Artist Captured the Innocence of Childhood by Photographing His Three Sons Florey's Unforgettable Alternative Movie Posters Sensitive Ballerina Watercolour Portraits By Liu Yi Artist Turns Animals Into Original Characters That Look Like They Belong In An Anime Russian Artist Adds Digital Pixel Glitches To Animal Tattoos. And It's Awesome!
When I was 8 or 9 years old, my uncle and aunt gave me a copy of D'Aulaires' Book of Greek Myths, a standard-bearer for children's folklore that was originally published in 1962. I was immediately dazzled by the book: D'Aulaires' was my first exposure to Greek mythology, and I marveled at its vibrant cosmology, its richly illustrated tales of deities whose omnipotence was matched only by their strikingly human, self-indulgent caprice.
The Stasi, the secret police, were legendary for their data files. Their work was based on instilling fear, and they induced stunningly amazing numbers of East Germans into informing on their neighbors. Something along the lines of 1 in 6 East Germans were informants, whether out of fear or out of approval of what the East German government was doing.
His investigation began after identifying recurring giant T-shapes, three-level indents, and step pyramids carved into ancient stones worldwide. 'These specific symbols that are built in different size proportions, and the symbols are found in ancient stones around the world, are not supposed to exist; no cultures are supposed to have any cross-platform,' LaCroix explained. The symbols appear in locations ranging from Turkey's Van region to South America and Cambodia.
At the outset of the Kalevala, Finland's national epic, a singer bemoans his separation from a beloved friend who grew up beside him. Today, the friends rarely meet "näillä raukoilla rajoilla, poloisilla Pohjan mailla" - lines which translator Keith Bosley renders "on these poor borders, the luckless lands of the North." The Kalevala, a poetic masterpiece of nearly 23,000 lines, first appeared in 1835. Now, nearly 200 years later, those "luckless lands of the North" are an increasingly tense border zone.
Following some of the arguments in Ernest Becker's 1973 study The Denial of Death, he proposes that such crises are at least partly the result of the western reluctance to face mortality. In Britain, we eschew open coffins, for instance. When our relatives die, as my mother did two years ago, they die in a hospital rather than at home. We can hardly even bring ourselves to say die, preferring euphemisms such as pass away.