Nostos (Greek : νόστος) (pl. nostoi) is the Greek word for homecoming, the idea of returning home from a long journey. Nostos can also mean “Welcome Home” in the Greek language. Nostos is a theme dealt with in many Homeric writings such as the Odyssey, in which the main character, Odysseus, strives to get home after the Trojan War. The plural term nostoi is applied to Greek heroes’ homeward journeys after the taking of Troy and is the name of one of the poems of the Epic Cycle on that theme..
Nostos in The Odyssey
There are many instances in The Odyssey in which Odysseus is longing to return home to Penelope, his wife, for example when he is stuck on Calypso’s island, Ogygia. Another example is during the night before he leaves the island of the Phaeacians, after he has told them his lengthy story, when he “kept turning his face at the blazing Sun, impatient for it to set, as he was longing to be on his way” (E. V. Rieu’s translation for Penguin Classics.)
The word nostalgia was first coined as a medical term in 1688 by Johannes Hofer (1669-1752), a Swiss medical student. It uses the word νόστος along with another Greek root, άλγος or algos, meaning pain or longing, to describe the psychological condition of longing for the past.
If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks every one and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.
~Ernest Hemingway - A Farewell to Arms
Edvard Munch (queue)
“The Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as “an icon of modern art, a Mona Lisa for our time.”
1893, National Gallery, Oslo, Norway
Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one of two painted versions The Munch Museum holds the other painted version and a pastel version from 1893. These three versions have not traveled for years.
The fourth version (pastel) was sold for $119,922,600 at Sotheby’s Impressionist and Modern art auction on 2 May 2012 to financier Leon Black, the highest nominal price paid for a painting at auction. The painting is on display in the Museum of Modern Art in New York from October 2012 to April 2013.
1893, pastel on cardboard
Also in 1895, Munch created a lithograph stone of the image. Of the lithograph prints produced by Munch, several examples survive. Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch’s absence.
The Scream has been the target of several high-profile art thefts. In 1994, the version in the National Gallery was stolen. It was recovered several months later. In 2004, both The Scream and Madonna were stolen from the Munch Museum, and recovered two years later.
The original German title given to the work by Munch is, Der Schrei der Natur (The Scream of Nature). The Norwegian word skrik usually is translated as scream, but is cognate with the English shriek. Occasionally, the painting also has been called, The Cry.
In his diary in an entry headed, Nice 22 January 1892, Munch described his inspiration for the image:
- One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream.
This memory was later rendered by Munch as a poem, which he hand-painted onto the frame of the 1895 pastel version of the work:
- I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.
Among theories advanced to account for the reddish sky in the background is the artist’s memory of the effects of the powerful volcanic eruption of Krakatoa, which deeply tinted sunset skies red in parts of the Western hemisphere for months during 1883 and 1884, about a decade before Munch painted The Scream. This explanation has been disputed by scholars, who note that Munch was an expressive painter and was not primarily interested in literal renderings of what he had seen. Alternatively, it has been suggested that the proximity of both a slaughterhouse and a lunatic asylum to the site depicted in the painting may have offered some inspiration. The scene was identified as being the view from a road overlooking Oslo, the Oslofjord and Hovedøya, from the hill of Ekeberg. At the time of painting the work, Munch’s manic depressive sister Laura Catherine was a patient at the asylum at the foot of Ekeberg. 
In 1978, the Munch scholar Robert Rosenblum suggested that the strange, sexless creature in the foreground of the painting was inspired by a Peruvian mummy, which Munch could have seen at the 1889 Exposition Universelle in Paris. This mummy, which was buried in a fetal position with its hands alongside its face, also struck the imagination of Munch’s friend Paul Gauguin: it stood as a model for the central figure in his painting, Human misery (Grape harvest at Arles) and for the old woman at the left in his painting, Where Do We Come From? What Are We? Where Are We Going?. More recently, an Italian anthropologist speculated that Munch might have seen a mummy in Florence’s Museum of Natural History, which bears an even more striking resemblance to the painting.
The imagery of The Scream has been compared to that which an individual suffering from depersonalization disorder experiences, a feeling of distortion of the environment and one’s self, and also facial pain…” - Read more on wiki: HERE Top image via: kArobbins/pinterest
I am not antithesis
I am dialectic
Just a contradiction
Patched up in palimpsest.
Photos: Steve McCurry HERE - via: sixand5.com and web
Bones Will Crow
Images: Craig Ritchie.
Animations: Brett Evans Biedscheid / Statetostate.
Animations Commissioned by English Pen.
Images of Burmese poets taken in their writing spaces in Yangon, Burma, during 2011/12. Poem excerpts from the anthology of Burmese Poetry, ‘Bones Will Crow’, by Arc Publications, 2012.
Description for Bones Will Crow via: niu.edu/niupress.
Bones Will Crow
An Anthology of Burmese Poetry
ko ko thett
“This collection is important because these poems are a splendid counter to the current scholars’ obsession with ‘cultural authenticity’ of national literatures. What we have got here is not so much just Burmese poetry as simply poetry (in the cosmopolitan sense) that happens to have been composed by Burmese in their language. It shows that Burma is part of the world and significantly part of World Literary Culture. The fact that we have both the Burmese language originals and the English translations (which are really lovely and wonderfully free of the usual attempt to ‘Burmanise~Buddhacise’ the English) makes the collection not only enjoyable to readers anywhere, but also of serious importance to scholarship on Burmese literature.” —F.K.L. Chit Hlaing, Emeritus Professor of Anthropology and Linguistics at the University of Illinois at Urbana-Champaign, Founding President of The Myanmar Studies Foundation, and Honorary Chair of the Myanmar Studies Group of the Association for Asian Studies
This is the first anthology of contemporary Burmese poets published in the United States, and it includes the work of Burmese poets who have been in exile and in prison. The poems include global references from a culture in which foreign books and the Internet are regarded with suspicion and where censorship is an industry. The poets have been ingenious in their use of metaphor to escape surveillance and censorship, writing postmodern, avant-garde, performance, and online poetries.
The anthology reveals the transition of Burmese poetry from traditionalism to modernism, as well as the development of Burmese poetry over the second half of the twentieth century, as Myanmar has changed. Through their wildly diverse styles, these poems delight in the freedom to experiment with poetic tradition.
ko ko thett grew up in Burma. By the early 1990s, he was thoroughly poeticized and politicized at Rangoon Institute of Technology. In 1996 he published and clandestinely distributed two uncensored chapbooks on the campus. He left the country in 1997 following a brief detention for his role in the December 1996 student uprising in Rangoon. ko ko thett has written extensively for several Burma journals and leading papers in Finland.
James Byrne is the editor and co-founder of The Wolf poetry magazine. His debut collection, Passages of Time, was published by Flipped Eye in 2003. Blood / Sugar is his second collection. He is also the co-editor of Voice Recognition: 21 Poets for the 21st Century, an anthology of British and Irish poets under thirty-five, and The Collected Poems of Hope Mirrlees.” via: niu.edu/niupress: HERE
Cartoframma, 2011 10,380 strips of white paper, installation: Church of the Immaculate, Aragonese Castle of Ischia
Daniele Papuli HERE (queue)
Over 10,000 strips of paper to create a rippling effect.
In between customers the clerk playing his violin.
Artemis: Please leave links. (queue)