I tell this story to everyone, ever since I heard it in a documentary on Art Nouveau. Stop fucking up pretty hats, you bastards!
every time i see this, my smile is renewed
I honestly do like fedoras ><
…It’s amazing what a tangential connection to Alphonse Mucha (who was Bernhardt’s official poster artist for many, many years and was one of the key intellectuals that she used to craft her image) can do for my opinion on a piece of clothing.
Incidentally, Bernhardt’s leg that was amputated? Apparently she had a funeral for it. People act like modern pop stars stars are a totally new radical weird thing but man Fin-de-Siecle Europe was a wild, wild place.
And here’s some images of Bernhardt courtesy of Mucha:
Man, Medea always gets me. What a haunting image.
But damn look at her as the fucking Prince of Denmark. Nnf.
I always get so pissed off at the whole co-opting of fedoras by the men’s rights movement because it wasn’t really until the fedora started going out of fashion that it became a men’s hat. Throughout its heyday of the first four decades of the 20th century it was pretty much always a unisex hat, as it was in the 1980s when it started to tentatively almost come back into fashion
I’ve told you before, I tell at least 40 students every semester, I’ll repost it every fucking time it comes up, until it Sinks In:
MRA’s wearing fedoras and claiming them as “Men’s Hats” is one of the most succinct arguments I can give for feminism.
EUROPEANS TAUGHT FOR CENTURIES that Africa had no written history, literature or philosophy (claiming Egypt was other than African). When roughly 1 MILLION manuscripts were found in Timbuktu/Mali covering , according to Reuters “all the fields of human knowledge: law, the sciences, medicine,” IT DID NOT MAKE MAINSTREAM NEWS as did the lies taught by Europeans concerning Africa
Someone asked me to somehow “verify” that this story is real.
Of course it’s real! The PROBLEM with the coverage regarding these manuscripts is that they’re constantly portrayed as being in “danger” because many of them are still in the possession of Malian descendants. About 700,000 have been cataloged so far, and they have had to be moved in part because apparently extremist groups have tried to firebomb them. Many others are still in the possession of the families they have been passed down in.
Many of these collected manuscripts are being housed in exile, but mold and humidity have been a constant threat. They have been raising funds to try and preserve these manuscripts-you can read more about the project to house and protect them here.
A bit of the history of these manuscripts from National Geographic:
These sacred manuscripts covered an array of subjects: astronomy, medicine, mathematics, chemistry, judicial law, government, and Islamic conflict resolution. Islamic study during this period of human history, when the intellectual evolution had stalled in the rest of Europe was growing, evolving, and breaking new ground in the fields of science, mathematics, astronomy, law, and philosophy within the Muslim world.
By the 1300s the “Ambassadors of Peace” centered around the University of Timbuktu created roving scholastic campuses and religious schools of learning that traveled between the cities of Timbuktu, Gao, and Djénné, helping to serve as a model of peaceful governance throughout an often conflict-riddled tribal region.
At its peak, over 25,000 students attended the University of Timbuktu.
By the beginning of the 1600s with the Moroccan invasions from the north, however, the scholars of Timbuktu began to slowly drift away and study elsewhere. As a result, the city’s sacred manuscripts began to fall into disrepair. While Islamic teachings there continued for another 300 years, the biggest decline in scholastic study occurred with the French colonization of present-day Mali in the late 1890s.
So yeah, basically the story of this collection’s source more or less ends with “…but unfortunately, colonialism”, as do most of the great cities of Africa, the Americas, and some parts of Asia.
Also, as an additional consideration:
With the pressures of poverty, a series of droughts, and a tribal Tureg rebellion in Mali that lasted over ten years, the manuscripts continue to disappear into the black market, where they are illegally sold to private and university collections in Europe and the United States.
Notice where the blame is placed here via language use: on the people in poverty forced to sell their treasures, as opposed to the Universities in Europe and the U.S. buying them.
It’s really just another face of Neocolonialism.
I heard mention of Timbuktu when I sang in “Oliver” the musical. Then I never learned anything about it again. Shame on me and my educational system. Certainly going to be hitting up Wiki and following the links out tonight.
u okspoiler warning it’s exactly as funny
Shall I compare thee to a lajskdhflaskjfhf
Every time I see this post I want to point out that Shakespeare’s handwriting wasn’t unusually illegible by the standards of his time. We think it looks weird and have a hard time figuring out how you can get anything like “William Shakespeare” out of it, but here are some examples of contemporary signatures:
Christopher Marlowe (or, as he spelled it, Cristofer Marley):
Sir Walter Ralegh:
William Cecil, Lord Burghley:
Henry Wriothesley, Earl of Southampton:
omg thank you ahh
I mean obviously I originally posted this for lols but I love it when people share history things on it because YAY LEARNING.
Also, it’s interesting looking at these signatures and thinking about what those people did with their time- how the courtiers have big swirly signatures, and Cecil has a very neat signature, for example. (and then Shakespeare and Marlowe clearly just not giving a shit and slapping it down however)
YAY LEARNING. I didn’t post it to be a pedantic scold, either, but I think knowing what signatures tended to look like back then is a useful thing — this is particularly true since it’s good ammunition against people who try to claim that Shakespeare’s signature (and that of his daughter Susanna) indicated that he was illiterate and thus not the author of the plays.Not that I think anyone reblogging this wanted to suggest that! It’s just that anti-Shakespearean canards like that tend to get out there and fester.
There are actually names for the different types of handwriting seen here! The kind used in the swirly courtier signatures is called italic hand — an excellent example can be seen in the writing of Elizabeth I:
Shakespeare and Marlowe are using “secretary hand,” which is much harder for modern readers (I’ve been trying for ages to teach myself to read it and I’m not very good) but which was used by people whose jobs included a lot of writing — hence the name! It looks like this:
As a side note, signatures can offer useful evidence about authorship. Take a look at the signature of leading “candidate” Edward de Vere, Earl of Oxford:
He has neater handwriting than William Shakespeare, maybe, but look how he signs his name: Edward Oxenford. Again, a perfectly valid spelling for the time, and one that de Vere uses consistently (as did several of his ancestors) — but look at this and then compare to this. Not an Oxenford in the bunch. Oxfordians: PWNED.