EN EREBOS PHOS
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| Date | Subscriber Growth | Mentions | Channels | |
| 05 September | +1 | |||
| 04 September | 0 | |||
| 03 September | 0 | |||
| 02 September | +1 | |||
| 01 September | +2 |
Channel Posts
| 2 | 02 Black Sabbath - After Forever.mp3 | 653 |
| 3 |  +1"Could it be you're afraid of what your friends might say, If they knew you believe in God above?" | 652 |
| 4 |  The Garden Behind the Moon, 1895
Howard Pyle | 503 |
| 5 |  Lonely Centaur by Ferdinand Keller | 448 |
| 6 |  Death and the Magician (2021, LP Cover) - Ayis Lertas | 445 |
| 7 |  Der Wegweiser (2020) - Inken Stabell | 382 |
| 8 |  No text... | 330 |
| 9 |  Roland Barthes, Mourning Diary | 306 |
| 10 |  José Benlliure, “The Barque of Charon”, from ‘Die Kunst: Monatsheft für freie und angewandte Kunst’, 1903 | 287 |
| 11 |  +1No text... | 276 |
| 12 |  Roland Barthes by Roland Barthes | 707 |
| 13 |  Vanitas: A Skull, Books & Lamp (1919) - Jacques Hartog | 245 |
| 14 |  A Game of Life & Death (1877, detail) - Gustave Doré | 240 |
| 15 |  Pandora (2025) - Mikhail Sol | 230 |
| 16 |  River of the Dead (2024) - Mikhail Sol | 244 |
| 17 | Barthes's text seeks to deconstruct—or to reconstruct—the ontological foundations of the autobiographical text. This is why it works so rigorously against being nostalgic, why it works, in fact, to present nostalgia as the condition of an illusion. In methodological fashion, it resists nostalgia for the past, nostalgia for a past "self," and nostalgia for a more authentic narrative mode with which to present both. Barthes writes about himself in his book "without . . . ever knowing whether it is about my past or my present that I am speaking". In denying that his past has any advantage over his present, his text rejects nostalgia in favor of the more creative moments in which he is actually composing it. The very negation of "recovery," his "patchwork" text is a rewriting of the self who writes: "I . . . rewrite myself—at a distance, a great distance—here and now". For Barthes, nostalgia constitutes the illusory sense that there is a "place" for the autobiographer to return to, and another self there for him to reanimate. A corollary of the idea that the self can simply be "divided," this notion of a "homesick" self is replaced with a more ghostly image of the subject as "dispersed" and "diffracted" in the present.
Paul Jay, Being in the Text: Self-Representation from Wordsworth to Roland Barthes | 231 |
| 18 |  Mr. Sardonicus | 1961 | dir. William Castle | 223 |
| 19 |  Jan Frans De Boever, “Will-o’-the-wisp” | 213 |
| 20 |  +1No text... | 201 |
