Manuel Aguilar

Hey!

[Manuel Aguilar @cornellius]

I don’t expect Robert Pattison to be as complex or fascinating

[Manuel Aguilar @cornellius]

what I find fascinating about this character in The Return, is how he’s the only one that loves (in a tortured way) Penelope, not just as a means of getting access to Ithaca’s throne. And that she cannot ignore that

[Manuel Aguilar @cornellius]

aquest és el contingut que em fa continuar a twitter

[Ryan Blue Thunder @RyanBlueThunder]

With all this talk of Homer's Odyssey, I had to double check which translation I have in my office library. I've got the wonderful Robert Fitzgerald translation. The Fitzgerald translation is said to be more lyrical and poetic, rather than a word-for-word translation. It's not as academic/scholarly as the Richmond Lattimore version (1951), and not as fast-paced, easy to read, as the Robert Fagles translation (1990). All three of those translations are highly regarded.

My copy is from the Franklin Library 100 Greatest Books of All Time series, which I also just love. Classic books made in the 70s & 80s with gilded page edges, incredible Moiré fabric (watered silk) endleaves, hubbed spines, thick, real padded leather (not that pressed leather stuff we see in modern editions).

[Manuel Aguilar @cornellius]

apparently Odysseus entered the underworld in Barcelona

[Bahar Cetiner @baharcetiner_]

Odysseus'un 10 yıl süren eve dönüş yolculuğunun haritası

[Badger @Bertrom]

Paying attention, caring, handwriting: this is love.

I have always loved my notebooks. Reading them from across the years, I am often intrigued by my fleeting thoughts and the minutiae of my day to day as opposed any grand designs. https://t.co/PzWkcxqPNE

[George Alexopoulos @GPrime85]

@NewYorker A Greek myth without the gods is like making a Harry Potter film without magic.

[Manuel Aguilar @cornellius]

@NewYorker I wonder why we have this Nolan version at all, when Umberto Passolini’s “The Return” follows the same path but with probably much better performances (Binoche + Fiennes). Plus also REAL Mediterranean colors

[Manuel Aguilar @cornellius]

els darrers 20 minuts d’Anglaterra han estat un regal per l’Argentina. Aparcar el bus i ignorar uns locos capitanejats pel Messi, what a plan & well deserved.
A la final no tindran aquesta sort, i el Messi haurà de deixar-se la vida literalment

[Oluwatobi Michael @Teebest101]

@tobyasky France can be likened to Real Madrid of last season, they have big names while Spain can be likened to Barcelona

[Manuel Aguilar @cornellius]

can’t beat joc d’equip ESP destrossa joc individualista FRA

[Islam Bouafif 🇹🇳🇵🇸 @BouafifNour]

Smile everyone, today we get to watch Lamine in another semifinal

[The New York Times @nytimes]

Sam Neill, the versatile actor who appeared in more than 150 productions including the “Jurassic Park” series, has died. He was 78.

https://t.co/nIiTVeZ2BR

[Badger @Bertrom]

https://t.co/3QuFJ1u1TL

[Manuel Aguilar @cornellius]

The new arms race is intra-European | The Spectator https://t.co/roUoRNhYbh

[Manuel Aguilar @cornellius]

que no guanyi França el mundial please

[Manuel Aguilar @cornellius]

@BouafifNour the team looks depleted, physically and mentally. No way they are winning 3 more games in such a state

[Archaeology & Art @archaeologyart]

The Hands of Gua Tewet, Indonesia.

Gua Tewet is one of the karst caves in the East Kalimantan region (Borneo, Indonesia). The age of the paintings here isn't measured directly from the pigment itself, but from the calcite crust that's built up over them. This involves analyzing how fast uranium decays into thorium within this crust (uranium-thorium dating). The result: the hands of Gua Tewet are at least 10,000 years old.

These are negative hand stencils. The artist sprayed liquid pigment from a bowl around their hand, blowing it either directly from their mouth or through a hollow bone. The area blocked by the hand stayed bare, revealing its silhouette. There are dots and short dashes on the palms and fingers. I think these look just like tattoo patterns. The hand sizes vary, meaning they belong to different people.

Notice the center of the panel. Thin reddish-brown lines curve upward, forming a branching network. Reinforced by dots and short dashes, this connection gathers at the bottom and branches out toward the hands above - some extensions reach all the way to the palms and fingertips.

According to the French-Indonesian exploration team, this represents a 'tree of life'. The hands are interconnected as if growing from the branches of a tree, likely representing a clan or lineage. Of course, that's just an interpretation.

Over 1,900 negative hand stencils have been found across hundreds of caves throughout the region. Dating at neighboring sites pushes some hand stencils back 40,000 - or even up to 52,000 - years. This puts them in the same era as the cave paintings in Lascaux and Chauvet in France, while some predate them by thousands of years.

The painting tradition in these caves lasted for about 30,000 years, from the middle of the Ice Age until roughly 4,000 years ago.

[Manuel Aguilar @cornellius]

he estat una setmana en un creuer pel Mediterrani i no us he donat la xapa. De res

[Manuel Aguilar @cornellius]

AI everywhere. At least remove the hyphens…

[ArchaeoHistories @histories_arch]

When Emily Wilson published her translation of The Odyssey, it quietly but decisively shifted how many readers understood one of the foundations of Western literature. For centuries, English versions of the poem had been shaped by male translators who often filtered Homer’s Greek through Victorian, Edwardian, or mid-20th Century assumptions about gender, class, and morality. Wilson approached the text with a different aim: fidelity not to tradition, but to the language itself.

Her translation pays close attention to what the Greek actually says, rather than what earlier translators assumed it meant. Where previous versions softened Odysseus into a noble hero or exaggerated the moral failings of female characters, Wilson strips away editorial judgment. Words that had long been rendered with moralizing or misogynistic overtones—especially when applied to women, servants, or the enslaved—are reexamined and translated with consistency and precision. A term describing women as sexually suspect, for example, is no longer quietly upgraded to “faithful” or “pure” when it suits male sympathy.

Equally important is what Wilson avoids. She resists anachronistic language that romanticizes violence, hierarchy, or domination. Her Odysseus is clever and ruthless, not automatically admirable; Penelope is intelligent and strategic, not merely patient and chaste. Enslaved women are named as enslaved, not euphemized into “maids,” forcing modern readers to confront the social realities the poem assumes rather than smoothing them away for comfort.

Wilson’s choices don’t modernize Homer—they clarify him. By refusing to insert gendered judgment or inherited bias, her translation reveals how much earlier versions reflected the values of their translators rather than the ancient text. The result is an Odyssey that feels sharper, more unsettling, and more honest: a poem about power, survival, and storytelling itself, finally allowed to speak without centuries of moral varnish.

© Reddit

#archaeohistories

[Mark Granza @markgranza]

I wish Baudrillard were still alive as literally nothing makes sense anymore