#74 520
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Pułaskiego / Marii Konopnickiej 74-520 Cedynia
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Frieren timeline
The only timeline available on the wiki isn’t super fleshed out with exact dates and counting backwards etc. So I decided to make my own.
Notes:
1. Spoilers for up to manga ch119 (the most recent at this time)
2. Even if it’s likely just a rough measure (“three hundred years ago”), I’m gonna assume when doing my math that it was exactly 300 years, because otherwise I can’t do most of the math
3. I skip most events that don’t have an exact year, eg Fern and Stark respective being taken in by Heiter and Eisen. I do make some estimates (eg Sein’s birthday, we only know he’s in mid-30s so he can’t have been born any further back than year xx).
4. Standardised year 0 as the year the demon king was defeated
5. Realised about 2/3rds through that I could be writing down chapter citations but at that point it was too late lol sorry
behold!
-3,000: Earliest mentioned date, by Frieren re: dwarf beliefs; most people believed the dead turn to dust, so pre-Goddess. Unclear when Goddess actually starts appearing.
[Emperor Boshaft alive, so is Milliarde, Frieren in village]
-1,000: Frieren becomes Flamme’s apprentice
-950: Flamme passes away*
-510: the last time Frieren fought a demon (quite likely Macht, as in year 80 she says 600 years ago, which would be -520. What’s a decade here and there?)
-420: Frieren restores her golden arm
-422: Aura became one of the seven sages of destruction
-322: the last time Frieren saw another elf, Grandfather Voll starts to protect village
-222: the last time Kraft saw another elf
-120: Fass finds Emperor Boshaft’s alcohol, Gehn starts working on his village’s bridge
-26: Himmel is born
-11?: Hero of the South visits Frieren and dies a year later; tells her she’ll meet Himmel soon**
-10: Hero Party sets out from capital
[Hero Party kills Immortal Bose and pushes back Aura sometime during this period]
-3: Goddess arc (Himmel is 23), Hero Party seals Qual***
0: Demon King defeated, Era Meteors, Macht starts to serve^
2: Denken born
20: Macht is braceleted
28: Continental Magic Association started (at latest), Lernen was first first-class mage
29: Denken came to Auberst with his wife (who died when he was in his twenties); Denken’s wife presumably passed away very soon after
30: last sighting of a Darkness Dragon (per random apothecary); Weis turned to gold and sealed
39: Earliest possible Sein birthday (he would be 40); humanity learns to fly
45: Wirbel born
50: 2nd Era Meteors; Himmel passes away; Aura reappears, demon activity increases in north and baby Wirbel makes promise
61: Stark is born earlier in the year after winter; Fern is born some time after harvest festival but before the last three months of the year
68: Graf Granat’s son dies in war against Aura
69: Sein’s friend Gorilla left
70: Frieren and Fern meet
74: Heiter collapses
75: Stark runs away from Eisen
76: Heiter passes away; Frieren and Fern set out on their journey
76.5: half a year spent looking for blue moonweed
77: Fern turns 16 (after spring, latest autumn)
78: 3+ Months spent at seaside town cleaning beach
79: wintered with Kraft, Stark’s 18th bday (after spring), meet Sein around harvest festival (time is a bit funky since it gets cold and then warm after this?)^^
80: El Dorado arc
81: first chapter after El Dorado. As of ch119, we are here, 31 years after Hero Himmel’s death!
and in the future…
97: Tod’s “curse” will engulf the star?
100: Next meteor shower. Fern and Stark would be 39.
149: Frieren promised to be back at hero’s sword village by this time
1079: Frieren may return to the Continental Mage Association :)
*Assuming she died soon after Frieren’s last shown convo with her where she said “it’s only been 50 years”
**Unclear just when was the Frieren/Hero of the South meeting, so it could technically be anywhere before, but -11 is the most recent it could be
***Frieren says it’s been 80 years in year 77. If she’s being precise then this is the date—but I have doubts as Qual was sealed in the Central Lands, and Hero Party should be well into the Northern Plateau near the goddess monument by this point.
^Technically I think Macht starts to serve a leetle bit before the demon king is defeated, but no time frame given for how long it took Macht and Glück to have those convos
^^To be more precise: they start the year’s winter with Kraft. Then it gets warm, and Stark’s birthday happens. Harvest festivals are usually in autumn, which is when they meet Sein, and then it gets cold enough for the gang to wear their winter gear again, and they spend a winter (or a cold snap?) with Sein. When they get to Auberst they spend an additional two months training with Fern while waiting for the exam to start. But when they finally leave Auberst in ch61, and aren’t wearing their winter clothes anymore, it’s still listed as 29 years post-Himmel death??? There’s a mention of it being because they’re in the volcanic belt… But seriously, year 79 goes on and on. I honestly think the authors just forgot to find a good spot to switch that over lol
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The Daily Mail are scum who are trying to get queer people killed.
Not that this really surprises anyone, but it's still pretty damned low even for them.
(Coming from someone who remembers the US political atmosphere around the AIDS Crisis a little too well. 😑)
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I posted 7,639 times in 2022
That's 6,724 more posts than 2021!
1,859 posts created (24%)
5,780 posts reblogged (76%)
Blogs I reblogged the most:
@mrcowboydeanwinchester
@girlbossdean
@queerstudiesnatural
@lesbianjoannaharvelle
I tagged 7,235 of my posts in 2022
Only 5% of my posts had no tags
#spn - 1,824 posts
#ola.txt - 1,431 posts
#dean winchester - 964 posts
#destiel - 520 posts
#tali tag 🌿 - 413 posts
#jo harvelle - 386 posts
#castiel - 319 posts
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#spn art - 285 posts
#ola answers - 282 posts
Longest Tag: 74 characters
#tim. god 😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫😵💫
My Top Posts in 2022:
#5
the way that in the trap dean says "i hope you can hear me. i hope you can hear me." this man has spent his whole life loving cas silently. loving cas in the dark quiet corners of his soul no one can find, not even himself. and then. in that moment. he gets down on his knees and begs for cas to hear him. thinking they may never find each other thinking they're about to die he confesses out loud what he has kept quiet for a decade.
960 notes - Posted November 5, 2022
#4
i love turning on an episode of supernatural and watching jensen act his little jussy out tears in his eyes praying on his knees all in one take while jared blinks at rapid intervals and misha does a silly voice
1,045 notes - Posted October 18, 2022
#3
you have to understand dean doesn't realise he's denying himself what he wants anymore like to him that's just how things Are. he can't have cas he can't stop hunting he can't get better he can't have time to himself it's not even a question, he doesn't even register them as wants because he just thinks he Can't Have Them and then what's the point of wanting them at all
1,207 notes - Posted August 10, 2022
#2
early seasons sam is just that bit spoiled and i think that is just a feat in itself on dean's behalf. he managed to raise a kid in a motel room off of macaroni cheese and second hand clothes but he sacrificed enough that sam still grew to be spoiled and petty. that s1 dynamic where sam has absolutely no clue about any of the shit dean went through is actually so so important because it shows just how stupidly good dean was at putting on a front of normality and protecting his brother. not only has dean been performing his whole life he's been performing parenthood his whole life and it was a success. dean's performances didn't start as self protection they started in the same way a mother performs to their child that everything is okay as the world falls to pieces around them. as s12 says, it's not fair and dean can't do it, but sam's spoiled s1 nature is a sign of how successful dean actually was
1,972 notes - Posted July 8, 2022
My #1 post of 2022
and is bisexual misha collins in the room with us right now?
2,544 notes - Posted April 25, 2022
Get your Tumblr 2022 Year in Review →
#tumblr2022#year in review#my 2022 tumblr year in review#your tumblr year in review#okay that for sure wasn't my longest tag#but also literally sapphicnatural cule hiiiii#also absolutely hilarious that i am the top blog i rbed from. self rbing queen#it's been a truly wonderful year#well has it. bisexual misha collins was my top post#SCREAM#ola originals
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Let's count to a thousand. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 it's getting boring. 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 445 446 447 448 449 450 451 452 453 454 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 489 490 491 492 493 494 495 496 497 498 499 500 Half done. 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 5*69* 570 571 572 573 574 575 576 578 579 580 581 582 583 584 585 586 587 589 590 592 593 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 367 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 78 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 (jackpot) 778 779 780 781 782 783 784 785 786 787 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 846 847 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 868 869 870 871 872 873 874 875 876 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 Took me about ~ 45 min. Now I can die in peace
#circa 2016#NightcoreReality#Nightcore - Wonderland#fav#fragment#nightcore music#nightcore#youtube comments#youtube comment#nostalgiacore#webcore#kidcore
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For the fanfiction writing asks! 18, 27, 28, 40, and 50 please! :D (I'm very curious today)
18. Do you enjoy research? Which fic of yours required the most research?
Hm, most of the time I think the answer is no? I sometimes go down rabit holes - name researching for OCs to fit their culture and symbolic role within the fic tends to be one I usually do. Or if there's a question of "how does this culture handle X?" I'll try my best to look it up (and throw in the towel if I can't find any good English or German sources. Or just go to someone with more knowledge of the culture like @sasamelons for help :D)
For me it tends to be the other way around, Thing I've Been Reading Up On sneaks into Fic I'm Writing more often than not x'D
I researched adoption/orphanage laws for Mystery of the Locked Door Thief/What's In A Name (in which Weilan adopt two girls after a bad case), but I'm sorely aware of my lack in certain departments (especially how government/child services work in China). I did my best and filled in the holes?
27. What area of writing do you feel strongest in?
I think I'm pretty good at capturing characters voices, at least in audio/visual media! And I worked a bunch on snappy fight sequences over the years, so those I'm usually decent at. And I think my smut's clearly improved over time, too!
28. What area of writing do you want to improve in?
Character growth, emotional writing, slow burn.
40. What is your favorite world that you’ve created for a fic?
I'm honestly considering picking up the world from Eternal Eclipse (fantasy au) for an Original Work. I've done a bunch more worldbuilding for it offline after posting it (and I would've continued that story 1000% if one of the real people hadn't been outed as a sex pest, pretty much nuking my interest in anything related to him)
50. How would you describe your writing style?
Keeping the hard questions for last, huh? I'm very bad at judging how my writing comes across, ngl. Last reverse 520 days exchange I described it as "detailed", which, idk, it's not wrong exactly? But I'm feeling like it doesn't quite describe it either. I know I have a certain rhythm - like the penchant for inserts such as this - as well as a tendency towards long-running sentences, usually stopped by one shorter one, before another run-on starts...
How would you (plural) describe my style???
.
Send me some Fanfiction Writing Asks!
(25, 38, 51; 8, 14, 15; 35, 48, 74, 75 and 35 answered here)
#ingno got an ask!#lienwyn#thanks for playing! <3#these were good questions omfg#I had to think about some of them long and hard#(aka 50. 50 gave me the most trouble as you can clearly see xD)#it's fun to share writing insights tho!
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17th May: Harriet gives up her most precious treasures
Read: Vol. 3, ch. 4 [40]; p. 219–222 (“A very few days” to “‘a beginning of Mr. Churchill?’”).
Read the post and comment on WordPress
Context
Harriet wishes Emma to witness the destruction of some mementos of Mr. Elton that she had been keeping.
We know that this occurs “a very few days” after Harriet’s “adventure” (p. 219).
During her lifetime, Jane Austen solicited and recorded a series of “Opinions” on some of her works, which have proven valuable to scholars both as indications of what was important to Austen and as snapshots of contemporary opinion. One of the "opinions" references this scene: “Mrs. C. Cage wrote thus to Fanny – ‘A great many thanks for the loan of Emma, which I am delighted with. I like it better than any. Every character is thoroughly kept up. […] Miss Bates is incomparable, but I was nearly killed with those precious treasures [Harriet Smith’s]! They are Unique, & and really with more fun than I can express.’” (repr. in Southam, p. 57). On the “Opinions” see Brodie; Southam (p. 11); Copeland (pp. 68–70); LeClair (pp. 74–7).
Note that the last section (“A Miscellany”) contains spoilers.
Readings and Interpretations
Most Precious Treasures
Some scholarly attention has been given to the specific objects that Harriet’s cotton-lined box of Most precious treasures contains, and to Harriet’s and Emma’s relation to those objects: as Lesley Willis writes, despite (or in line with) Austen’s general reluctance to describe physical objects in great detail, “[i]n Emma characters are often defined by their feelings about objects as well as by a simple association with them” (p. 105). Scholars tend to mention the “metonymic” function of Harriet’s bit of court-plaister and defunct pencil—like other types of memento or token, they stand in metaphorically for something closely related to them (in this case, Harriet’s dealings with and feelings for Mr. Elton).
The air of the ridiculous in this incident is also discussed by commenters. Heather Klemann writes that “[s]entimental objects […] lose their pathetic impact in Emma” (p. 519). Because “the histories of [Harriet’s ‘treasures’] are missing from the novel,” Austen has “giv[en] us the putative sentimental object without the narrative context that valorizes it”:
Until the moment of the mementos’ imminent purgation, the narrator has left out any prior description of Mr. Elton cutting his finger on Emma's penknife or his jotting down a note on spruce beer in Harriet’s presence. The embarrassing irrelevance of these objects to Harriet’s now defunct romantic future with Mr. Elton is heightened by the impossibility of the reader’s romantic recollection of their origins. By the time the reader becomes aware of these objects, their sentimental value has depreciated almost to worthlessness. Humorously, only their use-value remains: Emma offers, “‘But Harriet, is it necessary to bum the court plaister—I have nothing to say for the bit of old pencil, but the court plaister might be useful’” (p. 520).
Mary Hong argues that Harriet is “made fun of, or devalued in the course of the novel […] for her foolish sentimentality” (p. 246):
The humor of this passage stems from the distance between the object—a bandage (which brings to mind all sorts of unpleasant associations with wounds and bodily fluids) and the romantic sentiment it is made to carry. Harriet’s narrative of romance is further undermined when Emma discloses that she had lied about not having any court plaister to give to Mr. Elton.
[...] If the court plaister’s ability to carry sentimental value is undermined by a purpose so inalienably connected with the body that it resists abstraction into symbolic value—the “end of an old pencil,—the part without any lead,” resists sentimentalization by its utter uselessness. On the one hand, the fact that it actually belonged to Mr. Elton makes it a souvenir. […] [I]t is a metonymic trace of Harriet’s interaction (or, rather, infatuation) with Mr. Elton. On the other hand, the qualifier following the dash, “the part without any lead,” undercuts its sentimental value by suggesting that the pencil stub should be more appropriately disposed of as trash rather than treasured as a token of love. (p. 247)
For Hong, the repeated diminishment in value of these objects, and how this diminishment allows Emma’s and Harriet’s thoughts to be narrated, is the point of the scene:
Yet if souvenirs are already devalued by virtue of their partiality, what are we to make of Emma’s (and by extension the readers’) reaction in this scene, whose shared “wonder and amusement” [p. 221] further diminish the value of these objects? […] For it is not fragmentariness or partiality per se that enables these objects to become souvenirs, but the act of making them smaller, literally and figuratively, that raises the question of their function. Harriet cuts a piece of the court plaister for Mr. Elton—he further reduces into a “smaller” piece—and Harriet keeps what is left of it. Not only is the court plaister physically reduced in size, but its value as treasure is undermined when Emma tries to recuperate its original function: “‘Harriet, is it necessary to burn the court plaister?—I have not a word to say for the bit of an old pencil, but the court plaister might be useful’” [p. 222]. This excessive devaluing of Harriet’s treasures, which produces the comedic tenor of the scene, […] can be seen in the dynamic of valuation and devaluation that structures the scene, mirroring the rise and fall of Emma’s expectations with regard to Harriet’s treasures. When Harriet tells Emma that she has “‘a sort of confession to make’.... There was a seriousness in Harriet’s manner which prepared [Emma], quite as much as her words, for something more than ordinary” [p. 220]. The expectation of an extraordinary narrative is soon belied, and mocked, by the ordinariness of the objects. […] More significantly, Emma’s description of the court plaister as a “relick” [p. 221] raises the possibility of its sacredness as a religious fragment, only to have that undercut by its more quotidian status as junk that the scene assigns it. […] [T]he presentation of Harriet’s treasures suggests that the central concern here is not the justification of these objects as treasures, but the negotiation between the ordinary and extraordinary, trash and treasure. And it is this movement between the two extremes, rather than a fixed notion of partiality or fragment, that leads to the revelation of their [Harriet’s and Emma’s] divergent thoughts and desires […]. In other words, the treasure scene locates the narratability of these fragments not so much in themselves as in a dialectic of their value and their worthlessness. Simply put, they are made significant by becoming insignificant. (pp. 248–9)
Ultimately, “Harriet’s treasure scene cautions against the impulse to value details solely in terms of what they may reveal about their speakers. For in bringing to light the divergent desires of Emma and Harriet, the devaluation of Harriet's treasures simultaneously foregrounds the difficulty of discerning another mind” (p. 249). These “divergent desires” are also important for Barbara Seeber, who writes that the scene encourages a pluralistic view of objects and circumstances:
The point is that what looks ridiculous to Emma is indeed “precious” from Harriet's point of view. Given Emma’s class position, these “treasures” look vastly inferior to her idea of a proper love token, a portrait that signals wealth and class position. The idea of something meaning a great deal to one person and nothing to someone else is emblematic of polyphony and it is crucial that Austen allows us to see what is precious to Harriet, not just to Emma […]. (p. 46)
As for Emma, her reactions to Harriet’s treasure cache are as telling as Harriet’s collection of it. Lloyd Brown argues that there is a recurrent pattern of “similarity between [Emma] and those whom she patronizes” in Emma: “Emma is contemptuously amused by Harriet Smith’s sentimental cache of ‘‘Most precious treasures’’. But Harriet’s mementos of the ill-fated intimacy with Mr. Elton are also tangible reminders of Emma’s own absurdities, the sentimental fantasies which lead her to initiate a match between Harriet and Mr. Elton, or to conjure up the “sweet, sad poison” of Jane Fairfax’s illicit passions” (p. 130).
The New Nostalgia
Nicholas Dames argues that the incident of burning Harriet’s “precious treasures” mediates a connection between memory and communal relationships. Throughout her oeuvre, Austen dissolves earlier eighteenth-century ideas of nostalgia as “personal memory,” instead writing a “newer nostalgia” that “tend[s] toward the creation of more cosmopolitan psyches. Claiming a disconnection from the past, naming and judging it, taking a fond pleasure in it rather than taking it as a fount of distress, the Austenian nostalgic makes the individual past available to others.” This is “a process most visibly enacted in Emma, where the memory of one private and confined attachment—Harriet’s former attraction to Mr. Elton—is transmuted, through a literal act of dispensing with the past, into a diluted memory that can be shared”:
Rather than permitting the memory of Emma’s promotion of the affair to harden into a settled resentment […], Harriet carries to Hartfield a box of souvenirs. The parcel, labeled ‘‘Most precious treasures,’’ contains a piece of court-plaster and a fragment of a pencil, both once discarded by Elton—highly effective metonymies of the days of Harriet’s interest. Harriet begins by asserting a disconnection from this past: ‘‘It seems like madness! I can see nothing at all extraordinary in him now’’ [p. 220]. Then she proceeds, while wishing the Eltons well, to state her purpose in visiting Emma: [Quotes from “‘No, let them be ever so happy’” to “‘how rational I am grown,’” p. 220]. The mere destruction of the souvenirs—called later ‘‘relicks’’ and ‘‘remembrances’’—is not sufficient, for forgetting is not so much the point as is forgetting in the service of a shareable past. Harriet’s emphasis is upon the burning of the ‘‘relicks’’ taking place before Emma: ‘‘[…] I am now going to throw them both behind the fire, and I wish you to see me do it’’ [p. 222]. Of course, before the souvenirs are destroyed and the memory consigned to the fire, Harriet narrates the ambient incidents surrounding the objects, small moments of furtive, imagined intimacy between her and Elton, to Emma, and Emma is therefore able to revise her own memories of those incidents, so that Harriet’s ‘‘private and confined attachment’’ is confined to her no longer. By sharing her previously ineffable and appropriately boxed memories with Emma, Harriet enables their forgetting: the destruction of the souvenirs and the sharing of the memories with Emma is a single act […]. [T]he novel proceeds to its conclusion without any further resurrection of Harriet’s memories of Elton. They are common property between Harriet and Emma, and therefore forgotten, nostalgized now: ‘‘There it goes,’’ Harriet says, ‘‘and there is an end, thank Heaven! of Mr. Elton’’ [p. 222]. (pp. 132–3)
These “nostalgic processes of disconnection, communality, and naming or judgment,” then, “lead to a form of memory capable of making former pain, as Elizabeth Bennet had suggested, pleasurable for a social grouping, even those memories that once threatened those social groupings” (p. 133).1
Without Any Lead
Jillian Heydt-Stevenson argues that the incident has a sexual overtone, and that Emma is like Austen’s juvenalia in “link[ing] theft and sexuality”:
Here the normally passive Harriet slyly pounces at her first opportunity to secure something of the man she loves, a foreshadowing that renders less surprising her later assertive pursuit of Knightley, of whom she too has experienced a part—a dance. The drama of this event, her nervous anticipation, the risky, breathtaking moment when she “caught it up,” the sexual implication of the pencil, the association between actual seduction and stealing the bodily metonymy—and then the blank emptiness, literally and figuratively, of the object, all underscore the fetishistic nature of her act. Taught to love a man with no “lead”—that is, no substance either of character or sexual potency—she steals an appropriate metonym, one that speaks for its inability to record a receipt for spruce beer, let alone produce a courtship narrative. (n.p.)
Juliet McMaster also sees a trace of “sexual touching” in this scene:
Keepsakes are an extension of touch, providing a means of keeping one’s fingers on some residue of the beloved. The piece of court plaister among Harriet’s “Most precious treasures” was intended to dress a cut that Mr. Elton got from Emma’s penknife; but the fact that he “‘kept playing some time with [it]’” adds value by his touch (338). Harriet also treasures the stub of his pencil. (According to […] Professor Zapp [“David Lodge’s memorable character” in Changing Places], the fact that the pencil has no lead in it implies that Elton is impotent.) (p. 54)
A Miscellany
I notice that the lead-in to this section (“A very few days had passed after this adventure, when Harriet came one morning to Emma”) encourages the reader to suspect a causal relationship between Harriet’s “adventure” (and thus, Frank’s rescue) and Harriet’s renunciation of her “treasures”; like Miss Bates’s syntax that earlier inspired Emma with the idea of a connection between Jane Fairfax and Mr. Dixon, it is factually correct, but implies a perspective or tends in a direction that is misleading.
Earlier I mentioned this scene as being revealing of Emma’s desire. G. A. Wilkes recalls that “R. W. Chapman commented many years ago on the number of occasions in Emma when ‘Mr. Knightley comes unbidden, and sometimes unrecognized, into Emma’s thoughts’ (p. 491),” and adds Emma’s and Harriet’s conversation in this section to that number: “Where Mr Knightley was standing (which Harriet cannot recollect) is imprinted in Emma’s memory just as clearly as the image of Mr Elton is in Harriet’s: the two girls are for the moment on the same footing” (p. 86).
Footnotes
The reference is to Pride and Prejudice, in which Elizabeth Bennet says “You must learn some of my philosophy. Think only of the past as its remembrance gives you pleasure” (vol. 3, ch. 16; p. 240).
Discussion Questions
Is the misleading syntax in the first sentence of this section the product of FID focalized through Emma, a narrator ignorant of Harriet’s state of mind, or a narrator who is being coy?
What is the purpose of this scene? Why does Emma respond to it the way she does?
What is the role of objects and people’s relation to or identification with them in Emma as a whole?
Is there an aspect of the sensual in Harriet’s purloined treasures?
Bibliography
Austen, Jane. Emma (Norton Critical Edition). 3rd ed. Ed. Stephen M. Parrish. New York: W. W. Norton & Company, [1815] 2000.
_____. Pride and Prejudice (Norton Critical Edition). 3rd ed. New York: W. W. Norton & Company, [1813] 2001.
Brodie, Laura Fairchild. “Jane Austen and the Common Reader: ‘Opinions of Mansfield Park,’ ‘Opinions of Emma,’ and the Janeite Phenomenon.” Texas Studies in Literature and Language 37.1 (Spring 1995), pp. 54–71.
Brown, Lloyd W. Bits of Ivory: Narrative Techniques in Jane Austen’s Fiction. Baton Rouge: Louisiana State University Press (1973).
Copeland, Edward. “Contemporary Responses.” In The Cambridge Companion to Emma, ed. Peter Sabor. Cambridge: Cambridge University Press (2015), pp. 68–87. DOI: 10.1017/CBO9781316014226.008.
Dames, Nicholas. “Austen’s Nostalgics.” Representations 73.1 (Winter 2001), pp. 117–43.
Heydt-Stevenson, Jillian. “‘Pleasure is now, and ought to be, your business’: Stealing Sexuality in Jane Austen’s Juvenilia.” In Historicizing Romantic Sexuality, ed. Richard C. Sha (2006).
Hong, Mary. “‘A Great Talker upon Little Matters’: Trivializing the Everyday in Emma.” Novel: A Forum on Fiction 38.2/3 (Spring – Summer 2005), pp. 235–53. DOI: 10.1215/ddnov.038020235.
Klemann, Heather M. “Ethos in Jane Austen’s Emma.” Studies in Romanticism 51.4 (Winter 2012), pp. 503–32. DOI: 10.1353/srm.2012.0001.
LeClair, Annette M. “Exploring Artist and Audience through Austen’s ‘Opinions of Emma’.” In Approaches to Teaching Austen’s ‘Emma’, ed. Marcia McClintock Folsom. New York: The Modern Language Association of America (2004), pp. 68–77.
McMaster, Juliet. “Sex and the Senses.” Persuasions 34 (2012), pp. 42–56.
Seeber, Barbara K. General Consent in Jane Austen: A Study in Dialogism. Montreal: McGill-Queen’s University Press (2000).
Southam, B. C., ed. Jane Austen: The Critical Heritage, Volume 1 (1811–1870). London: Routledge (1968).
Wilkes, G.A. “Unconscious Motives in Jane Austen’s Emma.” Sydney Studies 13 (1987), pp. 74–89.
Willis, Lesley H. “Object Association and Minor Characters in Jane Austen’s Novels.” Studies in the Novel 7.1 (Spring 1975), pp. 104–19.
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Pułaskiego / Marii Konopnickiej 74-520 Cedynia
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The European Bow Type Commercial Shackle is a type of lifting shackle commonly used in industrial and commercial settings for lifting and rigging applications.
The shackle is made of high-strength alloy steel and features a bow-shaped design with a threaded pin that can be easily tightened or loosened by hand. The shackle is designed to connect chains, cables, or wire ropes and is often used in applications such as lifting, towing, and rigging.
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Size
d
WLL
(Kg)
(Kg/100pce)
Dimensions
Tolerance
A
B
C
D
R
5
80
1.9
10
11
18
5
8
±5%
6
97
3.4
12
13
24
6
10
±5%
8
200
7
15
17
30
8
11
±5%
10
320
13
18
19
39
10
15
±5%
11
400
21
21
42
11
17
±5%
12
520
26
24
23
49
12
18
±5%
14
600
27
27
55
14
21
±5%
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800
50
30
32
65
16
25
±5%
20
1100
80
36
38
72
20
29.5
±5%
22
1500
130
42
41
87
22
34
±5%
25
2100
200
49
54
99
25
38
±5%
28
3000
310
54
65
109
28
45
±5%
32
3500
430
61
69
121
32
49
±5%
38
5000
700
72
81
144
38
60
±5%
45
7000
1250
86
91
171
45
71
±5%
50
8000
1750
97
103
190
50
74
±5%
57
10000
109
124
219
57
81
±5%
65
13980
121
133
247
65
95
±5%
Production Process
Upset Forging
Material Grade
Carbon Steel for Shackle body and Pin
Safety Factor
4:01
Finish
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Supply Certificate
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Inspection certificate can be supplied, but the cost would be extra to buyer account.
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Evian Wenyi Zhang, Prototype 2, 2021, Acrylic on canvas, 74 3/4 × 204 3/4 in / 190 × 520 cm
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Kripto para piyasası, kesimin piyasa pahasının 1,2 trilyon doların üzerine çıkmasıyla Temmuz 2023’e olumlu bir başlangıç yaptı. Bitcoin Hakimiyeti azalırken, kripto balinaları Temmuz ayında hangi altcoinleri satın alıyor? İşte veriler…Kripto para piyasasında bu altcoinler dikkat çekiyorBTC Dominance (BTC.D), önde gelen birtakım altcoinlerin en çok kazananlar listesinde tırmanmaya başlamasıyla bu hafta yüzde 1 düşüşle yüzde 51,2’ye geriledi. Altcoin piyasasındaki rallinin ortasında, kripto balinaları bu hafta bu üç altcoine çok dikkat ediyor. Bunların başında AAVE geliyor. Önde gelen Aave DeFi protokolünün lokal tokenıdır. AAVE platformu, kullanıcıların çok çeşitli kripto varlıklarını ödünç almalarını ve ödünç vermelerini sağlar. Son kripto rallisi bir DeFi patlamasını tetikledi. Önde gelen DeFi borç verme platformlarından biri olarak, balina yatırımcılarının bu hafta AAVE tokenlarını stoklaması şaşırtan değil.Aşağıdaki grafik, 1 milyon ila 10 milyon BCH coin tutan balinaların 22 Haziran’dan bu yana varlıklarını artırdığını gösteriyor. Dikkat cazibeli bir formda, 23 Haziran ve 5 Temmuz tarihleri ortasında 190.000 AAVE token satın aldılar. Mevcut piyasa bedeli olan 74 dolara nazaran, balinalar tarafından yapılan yeni yatırım yaklaşık 14 milyon dolar bedelinde. Kısa bir mühlet içinde bu kadar büyük bir fon girişi, AAVE fiyatının Temmuz ayında muhtemelen daha fazla kar sağlayacağına dair inancın bir göstergesidir.Balinalar çantalarına MKR da ekliyorSantiment’ten gelen bilgiler, kripto balinalarının bu hafta MKR satın aldığını gösteriyor. DAI stablecoin ihraççısı olarak gösterilen MakerDAO, teminatları USDC’den daha da uzaklaştırdı. Ocak 2023 itibariyle yaklaşık 2,4 milyar USDC, MakerDAO’nun mimarisinin kritik bir bileşeni olan ve kullanıcıların 1:1 oranında USDC yatırmasına ve DAI basmasına imkan tanıyan PSM’de kilitliydi. Fakat DeFiLlama bilgilerine nazaran, bu sayı yaklaşık 520 milyon dolara düştü. Bu da DAI stablecoin’ini desteklemek için direkt kullanılan USDC ölçüsünde yüzde 78’lik bir düşüş olduğunu gösteriyor.Ayrıca balinalar çantalarına MKR da ekliyor. Bilhassa, kripto balinaları bu gelişmeye MKR çantalarını doldurarak karşılık verdi. Aşağıda görüldüğü üzere, 21 Haziran ile 5 Temmuz ortasında, 10.000 ila 100.000 coin tutan MKR balinaları, varlıklarına 23.000 MKR ekledi. Şu anki yaklaşık 1.000 dolarlık fiyatla, yeni yatırım 23 milyon doların üzerinde bir bedele sahip. Balina biriktirme çılgınlığı nedeniyle MRK fiyatı bu hafta yüzde 50 bedel kazanarak 2023 tepesi olan 1.000 dolara ulaştı. Coinbase’i çevreleyen son SEC FUD ve borsaların USDC ile yakın alakası göz önüne alındığında, Maker (MKR) balina yatırımcıları bu elden çıkarmayı güzel karşıladı.COMP, balina çantalarında rol oynuyorAyrıca, Compound Finance (COMP) Haziran 2023’ün son haftasında yüzde 90’lık bir skor elde ettikten sonra Temmuz ayında da kar serisini sürdürdü. Zincir üzerindeki bilgiler, COMP satın alan kripto balinalarının tokenin üst üste ikinci hafta çift haneli karlar elde etmesinde değerli bir rol oynadığını gösteriyor. 30 Haziran ve 5 Temmuz tarihleri ortasında, 100.000 ila 1 milyon COMP tutan kripto balinaları kümesi 1,08 milyon token daha satın aldı. Compound Finance’teki bu ağır balina faaliyeti, fiyatın 11 Haziran’daki son düşük düzeyinden neredeyse üç katına çıktığını gördü. Balinaların yavaşlama belirtisi göstermemesi nedeniyle öteki ferdî yatırımcılar da ralliye katılmaya devam edebilir. Özetle, büyük kurumsal yatırımcılar ortasındaki yükseliş hissi, rastgele bir kripto para ünitesi projesinin fiyat performansı için çok kıymetlidir.
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#245: ‘All of the Lights’, de Kanye West, retorna ao chart na primeira posição; ‘On the Metro’, de Girls Aloud, desce para a posição No. 2
Veja mais informações da 245ª semana da Ton Charts, com detalhes sobre o chart principal de músicas e atos, a evolução das cinco primeiras posições e as músicas mais ouvidas por dia no período.
16 jan 2016
22 jan 2016
245
‘All of the Lights’, de Kanye West, retorna ao chart na primeira posição; ‘On the Metro’, de Girls Aloud, desce para a posição No. 2
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Kanye West, Rihanna, Kid Cudi
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On the Metro
Girls Aloud
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Golden Rules
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Beyoncé, Nicki Minaj
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Sordid Affair
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Telephone
Lady Gaga, Beyoncé
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Hymn For The Weekend
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Rather Die Young
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Midnight
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Right There
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Unfold
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Tides
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Missing
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46
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The Xx
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8
1
1
13
42
5
Coldplay
1
42
1
7
7
39
6
The Saturdays
1
33
1
6
3
38
7
Girls Aloud
2
7
2
2
35
8
Röyksopp
1
8
5
20
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Angel Haze
1
1
7
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1
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Katy Perry
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66
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16 jan
1
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Kanye West
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2
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Golden Rules
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20 jan
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34
Kanye West
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Beyoncé
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21 jan
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40
Kanye West
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31
Girls Aloud
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Golden Rules
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Beyoncé
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16 jan
17
35%
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22 jan
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Kanye West
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17 jan
Deep Sea Diver
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4
18 jan
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2
10
19 jan
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2
9
20 jan
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14
5
21 jan
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15
2
6
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12
semana245 semanal KanyeWestNo1 RihannaNo1 KidCudiNo1 KanyeWestMyBeautifulDarkTwistedFantasyNo1 MyBeautifulDarkTwistedFantasyNo1 AlloftheLightsNo1 2016No1
#semanal#KanyeWestNo1#RihannaNo1#KidCudiNo1#KanyeWestMyBeautifulDarkTwistedFantasyNo1#MyBeautifulDarkTwistedFantasyNo1#AlloftheLightsNo1#2016No1
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Quạt Hút Nối Ống Dạng Hộp Phi 250
Quạt hút nối ống dạng hộp phi 250 là loại quạt chuyên dùng trong các tòa nhà để hút không khí và lưu thông không khí cho các tòa nhà, đây là sản phẩm dùng để hút không khí, hoặc cấp không khí, và tăng áp cho các đường ống khi đoạn ống dài áp bị yếu thì cần có quạt hút nối ống để tăng áp và cấp khí.
Quạt hút nối ống Nanyoo dạng hộp là dòng được ứng dụng nhiều trong các tòa nhà vì ưu điểm của nó là có lực hút lớn và độ ồn thấp, chính vì thế nó còn được gọi là quạt siêu âm nối ống.
Thông số kỹ thuật của quạt hút nối ống dạng hộp phi 250
- Thương hiệu: quạt điện Nanyoo
- Mã hàng: DTP25-76E
- Lưu lượng gió: 2300m3/h
- Công suất: 550W
- Áp suất: 480pa.
- Độ ồn: 58dp.
- phi ống: 250.
- Diện tích sử dụng: 900 - 100m3
- Kích thước: 76x49x45cm
- Bảo hành: 12 tháng.
- Sản xuất: Trung Quốc.
Kích thước quạt hút nối ống phi 250
Model
A
B
C
D
E
F
G
H
I
J
DPT10-12B
340
298
95
240
65
68
210
100
200
285
DPT10-24B
340
296
95
240
65
68
210
100
200
285
DPT15-32B
340
298
145
240
75
53
230
120
240
285
DPT15-4211
390
348
145
270
75
58
265
140
280
315
DPT20-54B
420
378
195
340
65
64
265
140
280
385
DPT20-54C
490
448
195
370
65
58
304
160
320
415
DPT20-65B
520
478
195
400
65
74
344
182.5
365
445
DPT20-75B
520
478
195
400
65
74
344
182.5
365
445
DPT25-76B
590
548
245
400
75
74
364
190
390
445
DPT25-76C
590
548
245
400
75
74
364
190
380
445
DPT25-76D
590
548
245
400
75
74
364
190
380
445
DPT25-76E
590
548
245
400
75
74
364
190
380
445
Ưu điểm của quạt hút dạng hộp nối ống
- Thiết kế khoa học độ ồn thấp.
- Đầu vào ra hướng trục.
- Motor chạy êm, chất lượng ổn định.
- Tuổi thọ cao
Nhà cung cấp quạt công nghiệp Hưng Đức Phát
Nhà cung cấp quạt công nghiệp và quạt dân dụng hàng đầu Việt Nam, với thế mạnh là nhà cung cấp của hầu hết các thương hiệu quạt cắt gió trên thị trường công ty tự tin luôn có giá tốt để cung cấp cho khách hàng.
- Cam kết báo giá tốt nhất thị trường.
- Hỗ trợ tư vấn khảo sát lắp đặt quạt cắt gió.
- Hỗ trợ giao hàng trong nội thành hà nội và hồ chí minh.
- Nhận lắp đặt quạt cắt gió với mức giá tốt nhất chỉ với 200k 1 con.
Với mong muốn trở thành một trong những kênh bán hàng uy tín số 1 việt nam, giúp khách hàng dễ dàng mua và tiếp cận sản phẩm dù ở bất cứ đâu, chúng tôi luôn tìm kiếm và hợp tác để đưa đến cho quý khách những sản phẩm và giá tốt nhất thị trường.
Luôn có chính sách bán hàng linh động, bảo hành bảo dưỡng định kỳ cho quý khách một cách chuyên nghiệp, hỗ trợ kịp thời khi có sự cố, luôn tiếp đón và phục vụ tận tình dù quý khách cần 1 hay nhiều sản phẩm cũng đều có giá tốt nhất thị trường.
Cảm ơn quý khách!!!
CÔNG TY TNHH ĐẦU TƯ THƯƠNG MẠI HƯNG ĐỨC PHÁT
Trụ Sở Chính: 1701, Tòa nhà Prime Centre, 53 Quang Trung, p. Nguyễn Du, Q. Hai Bà Trưng, Hà Nội
Trụ Sở Miền Nam: 83 Đường Tân Thới Nhất – Khu phố 4 – Đường Tân Thới Nhất – Quận 12 – Thành Phố HCM
Chi Nhánh 1: Thôn Tựu Liệt xã Tam Hiệp – Huyện Thanh Trì – Thành Phố Hà Nội
Nhà Máy Sản Xuất: Thôn Hạ, Xã Cự Khê, Huyện Thanh Oai, TP Hà Nội, Việt Nam.
Điện thoại: 024.66.507.256 / Hotline: 0936.488.457 / 0902.239.822 / Email: [email protected]
Website: quatdienvietnam.vn
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SP107247 490B-03006 VALVE COLLET XINCHAI
SP107247 490B-03006 VALVE COLLET XINCHAI
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3110900194 美孚威达3号 18L LG958
4120003420008 空调管
4120018257001 上盖板
29170039941 机油泵体衬套B3000-1011022
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28080000091 LG6360E维修手册
11214143 底板
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11218330 把手
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4110001089125 右后侧门
FXKAY-00294 冷蒸管
29090008981 橡胶管夹
29281000692 定位轴
29231005031 配重
28280007921 定位板
4110000620 离合器轴工装
4110000218020 传动轴C52*1368
29270015021 连杆总成
26141020321 锥齿轮垫片
F3050900200F 质量体系运行协调通知单质记03号
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29390003331 毛巾（单）
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Mail:[email protected]
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4110002371002 进气门
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26130103571 MT95非公路自卸车 L920
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29060009451 单面胶手套
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29270009611 SDLG L969F GPE Wheel Loader
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4110003408 SIGN AND LOGO
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29030031871 A柱饰板（左）
Mail:[email protected]
4120005932034 LG933轮式装载机-3303214A2908
4030000574 隔热罩(右)C13BL-13BL601+B 74％
29150021791 管夹
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LG5111001031 下轴瓦（宽）6105Q-1005057C
F4-2914001373 固位器
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I3-2921000917 精滤芯分总成F5/6L912A-0100
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FDH130-DC 弹簧座22011500110
4120000730023 53件维修工具组套 （世达09535）
3120901403 锁鼻
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26170024751 气缸SC50*75
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4110001525001 堵头
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4110001060210 ���后侧PUR海绵30
28230021091 下叉
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FZ0001175 钢化玻璃 1200*800*5
4190001338003 HOSE ASSEMBLY_LGB152-102260 PYJSW315-6A-022
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9100001596 LG946L/LG952L/LG952H/LG953/LG953L/LG953N
4043000242 停用-弹性挡圈 0730 513 610
4110001889 钢球GB308-17.462-GCr15
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4110000565026 左过渡钢管
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28140012901 密封环 0734.309.412 190*220*14,5/18
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4120002303004 OIL (GL-5 SAE80W-90)
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11223294 右链轨节ZL171MA-00012
14403728 转向器总成 L958F
ZJ4110001002010 第4缸高压油管部件26AB634
11221609 多楔式三角带B01183394
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FP603-085014 ER636F挖掘机
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29030047801 停用-机油冷却器密封垫1013058A56D
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6900001825 多路阀DF-32D2Ⅲ-18
4190003657 起动机1000518354
29120015491 弯板
M086HWAP6-14 LG6300E岩石斗
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29210011491 垫片17231200
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26370002441 气门杆密封
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11215902 下部钢管
29010058091 停用-印花 LGD812
29330085741 胶管F462CACF151508-3500-PG2800
FP920-085025 驾驶室总成
4110016196099 空调控制器
2060900311 胶管F481CACA101005-900
5111000261 弯板
2929000871003 端垫4642308185
29030011031 防爆插头插座
5302114A290800 第三联接口
Mobile/WhatsApp:0086-1525-4934-126
6410001258 手柄齿条{Z3050}
29070026371 窗棂
29120014011 密封圈82.5*4*2.5
4110003774 前桥壳总成
6900018217 停用-链轨节
4110001121068 挡泥瓦
29340002291 板
4041002210 盖板
29340018191 接头体
F6390 调整垫-喷油泵D02113052
6420002159 驱动桥总成(后桥)
4110002126290 筋板
29240102571 变速箱支撑架
6900018711 COVER ACCESSORY
29220025921 装载装置
4110001060017 凸轮轴总成1G960-16010
4110001005162 DOOR
FOA10077 前车架标识包
4110000184246 仪表台线束
6900019386 风动螺丝刀B6L
26320002391 BEARING PLATE
11212846 圆环
4110002168054 防滑链
29240037031 增压水泵CDMF3-29
2821001344101 热交换器支架612600191325
28010006301 胶管JB8406-B13*400
4110001600009 上盖
4110000081280 缸栓
29380021211 扎丝LG13-ZS4*350 ZFJ
6310300035 HOSE_CAC
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