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quatregats · 3 months

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Having a field day with Ellis's (1889) Existing Phonology of English Dialects discussion of Cockney, I have absolutely no experience with historical English dialectology and therefore I cannot judge the accuracy of his data, but the comments that he's collected are fascinating nonetheless:

[Image Transcription:

§ 2. Walker (1792-1807) and Smart (1836) on London Speech.

These two well-known authors of Pronouncing Dictionaries have each given a section on Cockney Pronunciation. I quote Walker from the stereotype edition of 1814. He enumerates four faults only. 1) postes, fistes, mistes, etc., for posts, fists, mists [mentioned in § 3 under P, p. 228]; 2) interchange of v, w as weal, winegar, vine, vind, for veal, vinegar, wine, wind, the two latter are spoken of as common; 3) not sounding h after w to distinguish while wile, whet wet, where were [now firmly rooted even in educated speech]; 4) interchange of h as art, harm, for heart, arm. There is no hint at pronouncing ā, ō as ī, ow.

Smart in his Hints to Cockney Speakers finds it almost unnecessary to remark on the interchange of v, w. But notes wōōld cōōld shōōld, would could should, [now never heard]; chick'n, Lat'n, nov'l, parc'l, but swivel, heaven, evil, devil, [the last of which is scarcely heard now but in the pulpit]. Other errors he notes as arethmatic, charecter, writin', readin', spīle sīle, for spoil soil, toosday, dooty, perput-rate, affinut-y, providunce, edecation; boa'rd fo'm co'd for board form cord, lawr, sawr, 'and, 'eart, honour, honest. There is no hint of sounding ā, ō as ī, ow. But he says that the ā of "a well-educated Londoner...finishes more slenderly than it begins, tapering, so to speak, towards the sound of e" (ii); and that ō "in a Londoner's mouth is not quite simple...finishing almost as oo in too." These are the ee'j, oo'w of rec. sp. which are quite different from the ī, ow sounds.

/End Transcription]

Also, and I'll just link the page scan (hopefully it works if you don't have a university library login? it's in public domain) of notes from Lackington's 1817 list of London mispronunciations but there's the glorious note on "leeftenant pronounced levtenant [leftenant, now usual]", which really makes you think. Anyways, I just find the historical evolution of Cockney really interesting, because it's an accent that has a very clear stereotyped version for lots of English speakers today, but a lot of those features came about in the mid-to-late 19th century, and it's fascinating to think that what was a defining feature of the dialect (like the interchange of w/v) has just completely disappeared off the map, while the distinct vowels were just not a thing at all. Really goes to show how fast spoken language evolves, especially outside of the standard, and we love to see it <3

#i should be in class and not going down another rabbit hole but by jove you can't stop me #'i have no background in this' i say in the voice of a guy who has a linguistics degree #and also literally talked about some of these very guys in one of my classes because my advisor did a thing with them #i mostly just mean that i'm not extremely well versed in the historical context and as such can't evaluate the source #i'm just continuously fascinated by patrick o'brian's ability to capture speech patterns which i've never heard #and i'm trying to figure out if they're historical or just english/british or some combination of both #you will note that killick has the w/v switch ('wittles is up')#i would just really like to pick mr. pob's brain about where he got his speech patterns from but since he's not around i'll do it myself #i suspect it was from reading a lot of period sources but alas i don't have time for that :(#anyways now anytime you read a book set in the age of sail you have to imagine them saying it leeftenant! have fun :D #adventures in historical sociolinguistics #perce rambles #also funnily enough i had a student last year who would say /tɛstɨz/ for 'tests'#but i suspect that it was not because they were reviving late-18th c. cockney speech #i do wonder where they got it from though. like i guess it makes sense linguistically it's just no one else was doing it

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unbidden-yidden · 8 months

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To follow up on my Hosanna poll, I think before things go any further, it'd be good to actually explain and define it. I was initially going to wait until the end of the poll, but it seems that google is giving people a lot of bad and/or conflicting answers and I'd rather people walk away with the correct information.

So! Hosanna is an anglicized version of the Hebrew words "hosha na" [הושע נא or as a contraction הושענא]. Hosha na is a little enigmatic and hard to translate, but the simplest translation is probably "save us, please." It's traditionally used as an exclamation to G-d to rescue us, but it also has shades of being a triumphant shout (the implication being confidence that G-d will save us.)

Jews say "hoshanot" (the plural of hosha na) as part of our traditional Sukkot liturgy, and is something we do still today.

For us, the multi-faceted meaning of the root word allows us to have multiple layers of meaning. During Sukkot, we start praying for rain in its proper season and amounts, and we shake the lulav and etrog as part of these processions and liturgy. On Hoshana Rabba [the "great hoshana"], the last day of Sukkot, we process around the bimah (front lectern) seven times as a completion of our season of repentance and our starting of the new year with abundant blessings.

My siddur (prayer book) Lev Shalem has this as an explanation and translation:

[Image ID is of the Lev Shalem siddur, pages 382 & 383 - I tried hard to find a pdf of this that would be readable using a screen reader, but the versions I'm finding cut off at pg. 376 at the latest. If anyone has bandwidth to type this up, I would greatly appreciate it]

For the curious, here is a recording of the Hoshanot liturgy and procession:

youtube

Christians mostly know the word from the gospels and hymns.

Here is what Wikipedia says about its use in Christianity:

Historical meaning

Since those welcoming Jesus were Jewish, as of course Jesus himself was, some would interpret the cry of "Hosanna" on the entry of Jesus in its proper meaning, as a cry by the people for salvation and rescue.

Christian reinterpretation

"Hosanna" many interpret as a shout of praise or adoration made in recognition of the messiahship of Jesus on his entry into Jerusalem

It is applied in numerous verses of the New Testament, including "Hosanna! blessed is the one who comes in the name of the Lᴏʀᴅ!" (Matthew 21:9,15; Mark 11:9–10; John 12:13), which forms part of the Sanctus prayer; "hosanna in the highest" (Mark 11.10); and "hosanna to the Son of David" (Matt 21:9). These quotations, however, are of words in the Jewish Psalm 118. Although not used in the book of Luke, the testimony of Jesus' entry into Jerusalem is recorded in Luke 19.

In church music

The "Hosanna Anthem", based on the phrase Hosanna, is a traditional Moravian Church anthem written by Bishop Christian Gregor of Herrnhut sung on Palm Sunday and the first Sunday of Advent. It is antiphonal, i.e. a call-and-response song; traditionally, it is sung between the children and adult congregation, though it is not unheard of for it to be done in other ways, such as between choir and congregation, or played between trombone choirs.

The bottom line:

Jews and Christians have different connections, associations, and meanings attached to this word as expressions of our different theologies and texts. The word is derived from a Hebrew word and was created by Jews and is still used by us today. (Like literally today - we are currently in the middle of the Sukkot festival.) Christians changed the meaning to fit within their own context, and pronunciation of the word evolved with linguistic drift over time. In the same way that there's not a reason to pitch a fit over saying Jesus rather than Yeshua, there's no compelling reason to change hosanna back to hosha na; if anything, the distinction helps make it clear that it's effectively a different word and concept from ours.

On the other hand, I do think Christians ought to know the original meaning of the word if they're going to use it. To only ever know their version when it was derived from ours is yet another small way of playing into supercessionism by erasing and replacing the Jewish context of things that were originated in Judaism that Christians have embedded in Christianity. While the Christians of today cannot unwind the supercessionism of Christian history, they *can* choose to understand their present Christianity in ways that do not play into supercessionism and that respect the Jewish community of today.

I hope this was helpful and gives folks a new perspective on an obscure Hebrew word!

#jumblr #christian #every hour is theology hour around here apparently

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werewolfenthusiast · 1 month

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My April Reads

(‼️IF YOU WANT ME TO REMOVE YOUR FIC FROM HERE FOR ANY REASON PLEASE LET ME KNOW. I REVIEW BOOKS BUT ONLY PRAISE FICS.‼️)

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Books:

Babel: An Arcane History by R.F. Kuang

I was hesitant about this book because I know it was relatively popular on booktok and that alone is enough to scare me off most times. I am also not a big fantasy person, but after reading it I think magical realism would be a more accurate classification - the magic fits in with the real world perfectly, serving as a stand in and allegory for other scientific and technological advancements. I am very glad I did read it because I truly am just absolutely floored by this book. It builds such a sense of friendship among the characters, it makes you love them, and it forces you to see things through their eyes. The anticipation is incredible, and the stakes are so high, I genuinely had to take breaks because I was getting overwhelmed (this is not a flaw I am just autistic, excitable, and easily overwhelmed). R. F. Kuang is a genius. Highly, highly recommend for historical fiction lovers, linguistics lovers, and for a story of empire from a non-white view. 5/5 Stars.

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Misc Lit:

I read through all of the submissions featured for the March prompt (Runaway) on Dakota Warren’s literary arts journal Nowhere Girl Collective

My favourites are:

Essay: Kudzu Kids by Megan

Essay: A Letter to These Kids That Ain’t Mine by Elio

Poem: Views of a Civil War From The Other Side of The World by Minerva

Poem: Amber - Crackling by Alice D.

Fiction: To Unbecome God by Mercy Grey

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One Shots:

Paper Birds

This was very cute. I love Sirius in this so so much and Remus is adorable.

safe with you by @hiddenmoonbeam

They’re actually the sweetest little guys ever, I love this so much.

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#monthly reading wrap up #books #babel an arcane history #fic recs #wolfstar fic #april reads

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lingthusiasm · 1 year

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Lingthusiasm Episode 75: Love and fury at the linguistics of emotions

Emotions are a universal part of the human experience, but the specific ways we express them are mediated through language. For example, English uses the one word “love” for several distinct feelings: familial love, romantic love, platonic love, and loving things (I love this ice cream!), whereas Spanish distinguishes lexically between the less intense querer and the stronger amar. Conversely, many Austronesian languages use the same word for the concepts that English would split as “fear” and “surprise”, while many Nakh-Daghestani (Northeast Caucasian) languages use the same word for the cluster that English splits into “fear”, “anxiety”, and “grief”.

In this episode, your hosts Gretchen McCulloch and Lauren Gawne get enthusiastic about the layers of language that are involved in emotions, from how emotion words form different clusters of related meaning in different language families to how the way your face shape changes when you smile affects the pitch of your voice. We also talk about how our understanding of how to talk about emotion changes throughout history and our lifespan, and how bilingual people feel differently about emotional words in their different languages.

Read the transcript here.

Announcements:

Thank you so much for celebrating our 6th anniversary with us! We appreciated all the love and support on social media, and it was great to see you recommending us to other language fans. Thank you to anyone who made an irl recommendation of the podcast, we appreciate you too!

In this month’s bonus episode we get enthusiastic about stylized Oldey Timey English! We talk about contexts in which pseudo-archaic forms get used, from Gretchen's recent experience with names and titles in a 1492 papal election roleplaying game, to how the language handbook of the Society of Creative Anachronism balances modern-day desires for gender-neutral language with creating historic-feeling titles, and a 1949 academic article cataloguing business names in the New York City phonebook that began with "ye". Join us on Patreon now to get access to this and 60+ other bonus episodes, as well as access to the Lingthusiasm Discord server where you can chat with other language nerds.

Here are the links mentioned in the episode:

Emotion semantics show both cultural variation and universal structure

‘Why Doesn’t Ancient Fiction Talk About Feelings?’ - Nautilus article

‘Language Development and Emotional Expression’ by Lois Bloom

‘Alexithymia and levels of processing: Evidence for an overall deficit in remembering emotion words’ from Journal of Research in Personality

Example of Emotion Wheels

‘The Preponderance of Negative Emotion Words in the Emotion Lexicon: A Cross-generational and Cross-linguistic Study’ by Robert W. Schrauf & Julia Sanchez

‘'Stop Doing That, Ia Komu Skazala!': Language Choice and Emotions in Parent—Child Communication’ by Aneta Pavlenko

Lingthusiasm Episode ‘Making machines learn language - Interview with Janelle Shane’

‘‘Happy talk: Perceptual and acoustic effects of smiling on speech’ by V. C. Tartter

‘Perceptual cues in non-verbal vocal expressions of emotion’ by Disa A Sauter, Frank Eisner, Andrew J Calder, & Sophie K Scott

‘On the Differences in Prosodic Features of Emotional Expressions in Japanese Speech according to the Degree of the Emotion’ by Yasuki Hashizawa, Shoichi Takeda, Muhd Dzulkhiflee Hamzah, Ghen Ohyama

‘Acoustic-phonetic properties of smiling revised – measurements on a natural video corpus’ by Helen Barthel & Hugo Quené

‘The voices of anger and disgust: Acoustic correlates in three languages’ by Marc D. Pell & Areej Alasseri

‘Relevant Angry Affect Slows Response Time To Commands’ by Aleah Combs

‘Beyond lexical meaning: The effect of emotional prosody on spoken word recognition’ by Seung Kyung Kim & Meghan Sumner

You can listen to this episode via Lingthusiasm.com, Soundcloud, RSS, Apple Podcasts/iTunes, Spotify, YouTube, or wherever you get your podcasts. You can also download an mp3 via the Soundcloud page for offline listening. To receive an email whenever a new episode drops, sign up for the Lingthusiasm mailing list.

You can help keep Lingthusiasm advertising-free by supporting our Patreon. Being a patron gives you access to bonus content, our Discord server, and other perks.

Lingthusiasm is on Facebook, Tumblr, Instagram, Pinterest, and Twitter.

Email us at contact [at] lingthusiasm [dot] com

Gretchen is on Twitter as @GretchenAMcC and blogs at All Things Linguistic.

Lauren is on Twitter as @superlinguo and blogs at Superlinguo.

Lingthusiasm is created by Gretchen McCulloch and Lauren Gawne. Our senior producer is Claire Gawne, our production editor is Sarah Dopierala, and our production assistant is Martha Tsutsui Billins. Our music is ‘Ancient City’ by The Triangles.

This episode of Lingthusiasm is made available under a Creative Commons Attribution Non-Commercial Share Alike license (CC 4.0 BY-NC-SA).

#linguistics #language #emotions #episodes #episode 75 #semantics #phonetics #bilingual

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onlytibki · 6 months

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I wonder what the OP world will look like in another 800 years.

When to the average member of the public, The Great Pirate Era is just another module in public school curriculum, or another time period in history no different from the one before or after it

What records will remain? How many of them were history and linguistics texts written by the controversial last of the great Oharan scholars, Nico Robin?

How many are political memoirs, written by/about which Marines? How many are written by/about which Fishmen, or Skypeians, or Shandorians?

How many are essays and logbooks by the revolutionary leader known as Sabo, or the 200th monarch of Alabasta, Nefertari Vivi?

Maybe there's an atlas penned by an cartographer only known by a single name--Nami, she who named herself after the waves?

And of course, Monkey D. Luffy will forever be known as the second Pirate King, but will his name continue as a historical figure or fade into legend?

(Maybe, in 800 years, calling someone "The Pirate King's _____" is simply shorthand for "the best on the seas". Because Cutty "Franky" Flam was a historical figure known as "The Pirate King's Shipwright" but that's just because he worked with Adam's Wood better than any other at the time.

And the same was true for Black-Leg Sanji, "The Pirate King's Cook"; God Usopp, "The Pirate King's Sniper"; Roronoa Zoro, greatest in the world and "The Pirate King's Swordsman".

Everyone knows the Pirate King is like the sun god, a title and a tier but never a person who existed. What kind of man could tame a Reaper as a musician, or a bigfoot as a doctor? Who could topple corruption on the highest level and bring freedom to all within only a few years?

That's gotta just be a story, right?)

#one piece #mmmm might come back and edit this later #draft

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sonnetnumber23 · 9 months

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Good Omens 2 Re-watch. Episode 5.

“You leave me with no alternative” – says Aziraphale to the musician preparing to promise to give him a book for free.

[Love the Doctor Who theme playing in the background, hehe]

“Nina and Maggie are depending on me. They just don’t know it yet.”

First of all, all those jokes about Aziraphale organizing a ball to dance with Crowley are actually very true. And I don’t think he’s doing it just to hold Crowley’s hand – he really wants to see Nina falling in love with Maggie so that he himself could believe that Crowley might open up to him someday at last. Again: he wants to have control over something; he wants to feel that he is capable to make someone happy, and to deal with his own problems himself too.

Secondly, Aziraphale could have just as well made all those people come to the ball – after all he made those men in suits leave his bookshop and never return – but he chooses to negotiate with them, manipulate them, but let them come on their own free will. He’s basically tempting them all, but “They don’t have to say yes,” as Crowley once put it. And Crowley is following him around watching this.

***

I love speeches they do in Hell. :D Dagon in the first season, now Shax. :D No wonder, Crowley was the one to record the greeting message. XD

***

Nina talking to Crowley is so much gentler than when she’s with anybody else. Both here and later when she tells his about Lindsay leaving. You just see how she feels him and relates to him. It’s like it’s easier for her to talk to someone for whom everything is harder than for most of other people. She’s all prickly with Maggie and Aziraphale because quite often they act like the world is a happy place made of rainbows and unicorns with kind people all around you. Compared to that Crowley must seem kind of more real to her, or at least less annoying, huh.

And God, oh God, Crowley’s face after that conversation. How can a person show so much emotion with their dark glasses on?

***

The scene on the terrace of the French restaurant leaves me with a whole bunch of complicated feelings. They’ve probably all been described already, but if I try to lay them out for myself…

The first time I watched I didn’t even pay that much attention to the “smitten” joke, because I was a bit disturbed by how little attention Aziraphale pays to Crowley’s concerns. “You’re being silly” is not the way you should calm down your demon, Aziraphale!

But, as I looked through the gifs later, and now during the re-watch, I came to realize that this moment also shows me that side of Aziraphale that I’ve been trying to feel and describe in these posts.

Now, we’ve got this “smitten” joke, which everyone likes to mention, and it’s great because it’s just in the middle of two POV’s, so to speak.

When Crowley starts talking, he’s damn serious. Though he doesn’t talk directly about all his concerns, he’s still very much in the state where he wants Aziraphale to listen to him, to hear his worries. “I spent last night worrying… He could smite me…” I wonder if little part of Crowley wishes in this moment that Aziraphale would think of the danger he’s putting Crowley in and give in, and give up his stupid idea to hide Gabriel further – at least for Crowley’s sake, and this way Crowley might keep him safe.

But then Crowley happens to stumble upon this unserious linguistic matter – “smote… smited?” – and his whole rant is compromised, as if he is too afraid himself to sound too pleading too desperate. Remember, he did completely the same when he was going to ask Aziraphale for holy water. “Walls have ear… trees have ears… ducks have ears. Do ducks have ears?” – absolutely the same. Poor boy, he just can’t speak seriously about his own fears, the danger he is in. :’( Too nervous, too afraid to ask… T_T

Crowley is known for talking a lot about how he is selfish and values his own existence above all, and yet he is always the first to take huge risks to save others. Like in every single historical minisode this season, and several times in the first season too.

And here he suddenly bares his fears to Aziraphale hoping that the angel would see that if Crowley is afraid then it’s serious and he should be afraid too.

But the thing is that he gets a completely opposite effect.

Aziraphale suddenly feels more confident. He feels responsible, and therefore he feels the strength he needs to carry out this responsibility. We’ve already seen him like this: when he tries to snap Crowley out of his panic after Warlock’s birthday and come up with a plan, at the end of the world in season 1 starting with the refusal to fight the war and further; we’ll see it later, when he “does the thing with the halo” because nothing else and no one else is helping.

And he enjoys it. You can clearly see it while he’s convincing Crowley that he has nothing to fear. It’s not because Aziraphale is oblivious of the danger or doesn’t care about Crowley’s safety. He does, he’s just met Shax after all. He just can’t help and enjoy the feeling of being brave and sure and ready to act and protect – for once. He wants it so much – to feel capable, to feel competent. I wrote in the previous rewatch posts why.

We’re so used to the (head)canon that Aziraphale loves playing damsel in distress and letting Crowley save him. But this season states it quite clearly – if partly as a joke – that he does it for Crowley more than for himself. “Saving me makes him so happy.” That’s a joke, because Aziraphale knows perfectly well that most of those times he did need saving. But whether he does or doesn’t need saving, Aziraphale is always ready to admit that Crowley has done something wonderful. He knows Crowley loves it. And Aziraphale knows he would love it too. “There must be something I could do for you.”

So yeah, maybe he is a bit intoxicated by this feeling, maybe he is too sure and optimistic about Gabriel, maybe his plan is a bit rubbish (though let’s admit – the ball plan worked better than Crowley’s rain plan), but his motives are pure.

[Oh God, I wish so much to finally see a situation where Crowley would have to rely on Aziraphale for something big and Aziraphale will be capable enough to save the day and Crowley…]

***

Should we or do we even have to talk about all the moments where people call Crowley nice in this season? Apart from Aziraphale, there’s Jim and Mrs Sandwich and really Nina would do so too if she wasn’t Nina. It’s so… On one hand, it’s for fans and all, and it works – I do a little delighted noise every time Crowley can’t help being nice and someone mentions it.

[My theory is that there wasn’t enough nice and deep Crowley in S1, so now we’re getting what they owed us.]

On the other hand, doesn’t it sound a bit like foreshadowing to you? Or, like the things we ought to pay attention to. Crowley doing good just because “why not” and because “I do what I please”, kind of proves Aziraphale’s point which is: Crowley hasn’t ever been bad, he deserves Heaven as much as (if not more than) other angels do.

***

I’m really not a fan of Aziraphale messing with people’s emotions. I know he means well, but making people feel fine and even happy while they have all reasons to be upset looks far too much as robbing them of their free will.

That’s a bit like the thing he does with Crowley at the end, isn’t it – thinking he can make him happy even if Crowley doesn’t want it, thinking he knows better what’s best for him.

And this is such a striking contrast with the beginning of the episode where Aziraphale goes to great lengths to get people come to the party on their own free will.

Again, I think this comes from the notion that this time round he’s responsible, he has an idea, and he is so excited to see it work, to be able to save the day. For once. He enjoys being in charge so much, he even asks Crowley to go out so that he can surprise him with the new bookshop look later.

The same comes for the ending where Aziraphale is so happy to be the savior that he doesn’t even listen to the person he’s trying to save.

I can understand him, I know how easy it is to cross this line and not even notice it, especially when you’re feeling euphoric about something.

But of course it was wrong both times. It even reminds of that horrible moment in S1 when Adam makes his friends smile while they’re crying.

***

The whole atmosphere of the ball surrounded by demons is so NeilGaimany, it suddenly feels as if the stakes are higher than you expected. At least for a moment. I must say I like it that in the end it turned out that no humans were hurt after all.

Crowley throwing himself between Maggie and the demons is a moment that makes me jump a little. It’s not Aziraphale, Aziraphale isn’t even around to be impressed, and Crowley doesn’t know yet who those ominous creatures are – and his instinct is to defend the human and to stop something bad from happening.

And oh how much I love the fact that Crowley talks to those demons as someone of a higher rank! :D I love being reminded that Crowley was cool and actually very high-up in Hell. And he still has a lot more power than average demons or angels.

[I really suspect that one of the reasons I liked this season so much on the first watch was because it gave me all my favourite things about Crowley, lol.]

***

Aziraphale looking at Maggie while she and Nina are dancing – there’s so much gentleness and hope, and longing in that face! He wants the same for himself so much. And he hopes for it.

At the same time Crowley is worrying crazy, the whole weight of all these people’s fates on his shoulders. And Aziraphale isn’t listening to him. There’s already a lot of great heartbreaking meta about the way they keep things from each other and then not listening when the other one tries to talk.

I just want to stress how brilliantly the POV in this scene is done: with Aziraphale, we desperately want Crowley to take his hand and dance and talk and appreciate the beautiful thing he’s created to solve their problem (because as Aziraphale sees it, if they fool Heavens, Gabriel won’t be discovered – he doesn’t know yet that Shax has already acted on her threat). And with Crowley, we get frustrated with Aziraphale for not listening, for acting recklessly and putting them all in danger. And at the same time both of them just want to hold hands. XD

And then it’s Aziraphale who puts himself between Shax and the humans (and Crowley). He is confident and I like it just as much as I like cool and bossy Crowley. And when Gabriel volunteers to go out Aziraphale says he will protect him because he promised, and he’s still doing it with his confident, guardian-angel voice, which even sounds a little bit lower than his usual voice. He has it in him – the Aziraphale he wants to be: brave, competent, true to his word. And it comes naturally to him, even though he doesn’t always have resources to keep fighting.

There’s such sad irony that we’ve heard him be like that when he defends the Earth, humans, Gabriel. But we’ve never heard or seen him defending Crowley, have we? We’ve actually seen him defending other things and people from Crowley. Which is just… Uuuugh! Again, it’s all so natural: he sees Crowley as equal, even as someone stronger, cleverer, cooler – so Crowley doesn’t need, can’t need Aziraphale’s protection, not in this way, surely?

I hope so much that we’re yet to see Aziraphale putting Crowley above all else and defending him with all he has. I’m sure Crowley’s going to explode. Or at least I will.

***

[On a side not: I wonder whose clothes were the suit and the furry coat the Gabriel is wearing at the party? :D Did Aziraphale just have them in the bookshop?? Why?? XD]

***

Ahaha, hellish bureaucracy and Crowley’s bluff is just so Good Omens, I love it.

But he isn’t listening to Aziraphale just as Aziraphale didn’t listen to him. :( Well, he’s absolutely got his reasons: Aziraphale has put them all in danger, and after all demons are Crowley’s field of expertise. But still. It leaves Aziraphale again feeling his failure, feeling that he’s just been put back in his place.

I think the joke “saving me makes him so happy” is both a joke and Aziraphale’s little attempt to get back some of his self-esteem before the inevitable battle and after he’s just been put down by Nina. It’s interesting how Nina’s words echo in Shax’s line later in E6 “…Crowley’s moral support angel”.

Earlier I wrote about Aziraphale robbing humans and Crowley of their own free will. So here we kind of see the reason why he doesn’t see how wrong this is: people keep pointing out that he has no will of his own. And it’s a sore spot. Because on one hand he’s spent his whole eternity being told that his opinion and actions don’t matter. And on the other, he keeps relying on Crowley, because he doesn’t find it bad to rely on someone he loves and trusts. Just like he wishes he could rely on God. And that’s why he can’t see his error: he’s doing what’s in these people’s interests, he’s saving them, surely they’ll be happy to entrust their lives and will to someone who loves them?? Aziraphale would be. He always is.

I know some of these conclusions contradict each other but that’s because the characters’ feelings are so conflicted. They feel so much at every given second, and they have so much background that is not easy to shake off.

#good omens 2 #long post #good omens 2 meta #good omens 2 rewatch #they keep getting longer and longer #well at least maybe the 6th won't be that long as i've already said most of the things earlier

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sixty-silver-wishes · 1 year

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Shostakovich-Sollertinsky letter translations- 1

Hello everyone!

so, some of you expressed interest in me sharing my translations of the letters from Dmitri Shostakovich to Ivan Sollertinsky, so I thought I’d start sharing them here! They range from 1927 to 1944 so I’m not going to Dracula Daily it and send them in real time lol, but I think I can do one a day. I’m not a native or fluent Russian speaker; just an intermediate-level learner, so while I’ve translated these to the best of my ability, I may miss out on some cultural and linguistic nuances. I researched and tried to translate idioms and cultural references as best as I could, but at the end of the day, please keep in mind my translations aren’t perfect. In addition to the published Russian letters, which my translations are based on, there’s a German-language translation that’s been published, so if you happen to speak German or Russian, I would highly recommend checking those out. I will also include footnotes as they appear in the published book when relevant, as well as some historical context from my own research when applicable. Because the first letter is very short, I will start today with the first two letters. These posts will be tagged #sollertinsky letters.

For context, Dmitri Shostakovich formally met Ivan Sollertinsky in 1927 at the home of the conductor Nikolai Malko. Sollertinsky would go on to be one of Shostakovich’s closest friends, until his untimely death in 1944 from heart complications. This first letter is undated:

"I have urgent business for you. Call me when you have 15-20 minutes to talk to me. D. Shostakovich."

Footnote- Written on the front side of the card- "Dmitri Dmitriyevich Shostakovich, 9 Marat Street, apartment 7. Telephone 496-37." Obviously, the composer wrote the note without knowing where Sollertinsky's house was. As it is only addressed "to you" (translation note: the formal form of “you," вы, which is used mainly for acquaintances and superiors, rather than the informal “ты,” which is used for close friends), this was likely the first letter from Shostakovich to Sollertinsky.

Letter 2- 20th August 1927, Detskoe Selo

My dear Ivan Ivanovich, I was extremely happy to receive your postcard. In such a small space, you combine so many needed considerations and witticisms that I am amazed. I did not write to you because I was in a bad mood. The Muzsektor [Music Sector] sent me only 500 rubles the day before yesterday for my loyal sentiments. Due to this, my mood improved, and I decided to write to you. Tomorrow I'm going to Moscow. The Muzsektor sent me a telegram for a demonstration of my revolutionary music. On my return, I will write of my summer adventures in detail. I recently received a letter from Malko, in which he warns me of an imminent break with him and, like Chamberlain [1], accuses me of such a break. Progress is being made on "The Nose," as well as my German. In my next letter, probably by Wednesday, I will begin with the words "mein lieber Iwan Iwanowitsch." Your D. Shostakovich.

1- “Chamberlain” refers to Chamberlain Ostin, a British statesman. (Footnote)

Translation note- It’s unknown how much time passed between this letter and the last one, but here, Shostakovich uses the informal ты. Between this letter and the last one, he and Sollertinsky drank a Bruderschaft, a drinking ceremony performed to commemorate friendship and switching from the formal to informal address.

Context note for letter 2- at this point, Shostakovich briefly tried to teach Sollertinsky piano, and Sollertinsky- a polyglot who spoke over 20 languages- tried to teach him German. Neither learned much.

#shostakovich #dmitri shostakovich #composer #composers #sollertinsky #ivan sollertinsky #classical music #history #music history #soviet history #sollertinsky letters #translation #russian history

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connorsnothereeither · 10 months

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If asks are still going, what are all of the Brink character’s majors in? I think some of them were mentioned but I don’t know if all of them were specifically said, and I’m curious

Oooh okay so it’s been a little while since I wrote these all out and I can’t find the original document BUT to the best of my memory:

Haley - English Literature

Sherbert - Chemistry

Rae - History and Linguistics

Will - Geography/Cartography

Momboo - Botany

Centross - Biology (with a focus in agriculture)

Venear - Classical Studies

Arisanna - History

Oh, and Martin and Immanuel are a psychologist and lawyer respectively.

I think those are the only characters who have gone to university in Brink, but I might have missed some. I also, admittedly, don’t know if those degrees/majors are historically accurate (I did some level of research but there wasn’t a lot I could find at the time), but thematically they fit the characters and general academic space of the era :D

#fable smp #fablesmp #on the brink of scientific discovery

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ukfrislandembassy · 1 year

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Frislandic Dialectal Phonology

OK, let's tackle this dialectal business. I'll talk about the phonology because that's what I have clear and concreate thoughts on, but obviously there's other differences too in morphology and lexicon that will be explored some other time. This isn't a post about features of contermporary colloquial Frislandic speech.

I will try and make a map of Frisland at some point to make the actual geography more transparent but for now if you need a geographic reference the Mercator Map (below) should suffice (noting of course that the forms of the names I'm using here are different from how they're represented on the map.

(If you need reminding the histroical phonology post is here).

Traditional Frislandic dialectology is multi-polar, reflecting the somewhat de-centralised nature of Frislandic governance. Each æl (kinda equivalent to 'burg' or 'polis') is seen as the centre of its own dialectal region, and so phonological variation is often characterised as revolving around this. Of course in practice administrative boundaries and linguistic isoglosses don't ever line up neatly, but for the most part this does work as a model of how the variation is distributed.

Geography naturally plays a large part in this. Frisland shows a marked geographic cline running from east to west, with the western half being substantially more rugged and mountainous compared with the relatively low-lying (though still definitely not flat) eastern half. This has several effects. Firstly, population density is by and large concentrated in the eastern half of the country, where the climate is milder and the land can better support agriculture. Secondly, and on the flipside to this, there is a greater degree of dialect diversity in the west than in the east. In particular, the ælu of Bondeduo (B) and Sændetoll (S), which sit at the heart of the two great bays that characterise Frisland's western coast, each boast traditional dialects which are both singificantly different from the standard (based partly on the varieties of the capital Ojbar and the religious centre of Dorsiðes) and from each other. By contrast, the western ælu of Ojbar (O), Guoðvakk (G), Dorsiðes (D), Eran (R) and Kamba (K) sit along what is in effect a dialect continuum, though traditional authors would still maintain these as fully distinct varieties, in spite of continuing

There are also 'insular' varities (not an actual group linguistically of course) on the various islands off the Frislandic coast. The most distinctive is that of Llæðuju (L) and sister island Llovu, which are noticeably distinct from the varity of the nearest settlement of Sændetoll (where this variety differs from S standards will be noted but otherwise left unremarked upon). The other large islands of Dojllo, Iben and Særm have varieties which generally can be grouped (as they are administratively) with the ælu of Kamba, Eran, and Guoðvakk respectively, while the island of Manko, having historically been largely inhabited by monks and close to the capital Ojbar is generally lacking in local dialect features.

So what does actually differ between these dialects? Let's start with single consonants. A key isogloss dividing the northern varieties (KRB) and S from the rest of the country is the retention of an overt reflex of lenited *k, usually a voiced velar fricative [ɣ]. The traditional variety of Dorsiðes also retains a slightly weaker consonant [ɦ] in stressed syllables.

There is also some regional variation in the reflexes of lenites *t, standard [ð]. While the eastern varieties do generally maintain a dental fricative, in Bondeduo we instead find [ɾ] (not kerging with *r or lenited *ʃ, see below), while a commonly-cited shibboleth of Sændetoll is the [l] reflex of the same, which counter-feeds an additional shift where *l in lenition environments (except as part of a *Cl cluster) shifts to [j]~[i̯] after a front vowel and [β]~[u̯] otherwise. Meanwhile, colloquial varieties in the southeast (OG) frequently delete lenited *t entirely.

Another key northern (KRB) feature is the retroflex articulation of the reflexes of *ʃ and *r, the former being either [ʂ] or [ʐ]~[ɻ] depending on lenition and the latter [ʐ]~[ɻ]. These cause retroflexion of a following coronal, thus e.g. standard /rt/, /st/ correeponds to [ʈ], [ʰʈ]~[ʂʈ] in these varieties. In B additionally there is a retroflex affricate [ʈʂ] from original *tr, while *tʰr merges with *ʃ as [ʂ], though metathesis of cluster *r continues as normal, resulting in apparent retroflex spreading/harmony.

These also are the regions where reflexes of *c tend towards palatal [t͡sʲ] (R) or [t͡ɕ] (K, B). Some village varieties otherwise grouped with B are claimed to distinguish reflexes of palatalised *t from other *c, but this is not found in B proper.

As established before, in standard Frislandic *n does not lenite. However this is not universal cross-dialectally. Notably in a S *n in lenition environments is lost leaving nasalisation of an adjacent vowel. This includes *n as the first member of a cluster undergoing metathesis.

The treatment of nasal + stop clusters forms an curious pair of isoglosses, in that S along with KR lost the nasal and nasalised the preceding vowel. In KR this was also accompanied by lengthening of the vowel. Meanwhile, in B (and also L) the lenghtening and deletion occurred but nasalisation was either lost or never arose to begin with. Note that these varieties (except S) thus lack [ŋ], instead having [k]~[ɡ] (noncontrastively voiced due to position) or [ɣ] and a nasal vowel preceding (S has [k]~[g] [ŋ]). Vowels before nasals in general are more strongly nasalised in these varieties.

Finally, a notable shibboleth of B and L is the retention of an over reflex of *pʰ, which is [h] in B and [f] in L. This merges with *p in lenition environments as [β]~[u].

In terms of vowels, the basic reflexes are usually somewhat similar, but there are some differences. In BKR the raising and fronting of *o, *u respectively did not take place, at least in stressed syllables, though there was subsequent to the Proto-Frislandic period a raising of new unstressed *o from combinations of schwa plus lenited labial consonant, paralleled by the [i] reflex of unstressed combinations of schwa plus palatal.

In terms of the long vowels, many varieties have differing reflexes. Firstly, while breaking of the mid vowels *eː, *oː is universal (with the exception of S), in KRD the result is [ea̯], [oa̯]. Meanwhile, the central varieties of RDG share a raising and rounding of *aː to [ɔ] or [o]. In the case of R this vowel merges with the [o] from *o. S, meanwhile, retains the length contrast in vowels as such, with no breaking at all.

With regards to umlaut, B notably has extended this to the back rounded vowels, expanding the vowel system significantly, with *o, *oː, *u, *uː giving [ø], [yɵ̯], [y], [øy̯] respectively when umlauted. This extends into something resembling a basic vowel harmony system in the animate plural, where the choice of [u] vs. [y] is determined by whether the vowel of the root is front. Meanwhile, in S, umlaut, while restricted to the low vowels as in O, behaved differently, to the extent that *e, *a merged in umlaut environments as [e], rather than umlauted *a giving [æ]. Otherwise these vowels remain distinct as [æ], [ɑ] respectively. Note that this is also true of the long vowels *eː, *aː as well, though with the caveat that *eː did not undergo lowering, thus is also reflected as [eː].

In terms of the diphthongs, there is a wide array of mergers and variability. Standard Frislandic has a frankly ridiculous quantity of diphthongs, and basically none of the dialects (even O) actually maintain this. For those that break *iː, *uː into a glide-final dipthong, the result of this breaking frequently merges with one of the secondary diphthongs formed through lenition of *c, *cʰ and *p, *m respectively. In O the result is [æi̯], [ɑu̯], in G [ei̯], [ou̯] and in D [ei̯], [eu̯], and smaller settlements inbetween these ælu frequently have their own variants. Meanwhile, in KR *iː, *uː break as [iə̯], [uə̯]. B shows an additional wrinkle due to umlaut, as while *iː shows by default as [ei̯], *uː splits into [øy̯], [ou̯] depending on umlaut.

Furthermore, of the 'secondary' diphthongs (those formed through consonant lenition), many varieties have various vowels mergers in this case too. Firstly, in RDG, because of the raising of *aː, this vowel merges with the reflexes of *oː in diphthongs, when not umlauted, with both being found as [oi̯], [ou̯] (the latter in G of course also merging with the primary reflex of *uː). Reflexes of umlauted *aː in the same contexts show backing to [ai̯], [au̯].

On the flipside, in S, due to the differing distribution of umlauted vowel mentioned above, the diphthong reflexes of umlauted *aː are [ei̯], [eu̯] (note also that the long vowel shortens here, despite S otherwise retaining vowel length). K instead we have a likely Duke-of-York change, where umlaut happens to *aː but in secondary diphthongs the vowels merge again, giving [ai̯], [au̯]. In KR the reflexes of long *iː, *uː in diphthongs are also different, as these undergo lowering, giving [ei̯], [eu̯], [oi̯], [ou̯], merging with the reflexes of *eː, *oː in these contexts.

B meanwhile shows some significant rejigging of the secondary diphthongs due to and in spite of umlaut, with a particular split between palatal and labial consonants. Palatal consonants co-occur with fronted vowels while back and/or rounded vowels co-occur with labials. As in KR long *iː, *uː merge with *eː, *oː. So *iː, *eː give [ei̯], [øy̯] while *oː, *uː give [øy̯], [ou̯]. The same applies with the reflexes of *aː, which gives [æi̯], [ɑu̯].

Finally, with regards to the treatment of schwa, in Os and to some extent also in G it is common to extend the pattern of schwa deletion between single consonants surrounded by vowels to include word boundaries, particularly with conjunctions such as æn 'and'. Note however that this does not apply to word-final schwas that arise from lenited and deleted *t, *k. In S this is also applied to the definite article ne, to the extent that when a vowel-final word precedes it encliticises onto that word as nasalisation of the vowel.

To conclude, here is a short text with phonetic transcriptions with the accents of each of the most significant dialects (OSBK). Of course a true dialect translation would also include lexical and grammatical differences (a couple of which are reflected here but will be discussed properly elsewhere as part of the discussion of dialectal morphology), but this kind of style suffices to show the phonological variation, and is reflective of practices of dialect representation in Frislandic media (text from this post, though amended slightly to reflect my now clearing thoughts about alignment, which is still kinda a mess).

Nie ijð Gæjlkud æn Ængelkud. Gæjlkud setuole kud. Gæjle bivlræju sedsonte ne Zaðudes æn kolovi wndreðeð Gæjle kongu kujnle tozlend ge ni irad otteseð. Æn sasan, n'ængle konguj Gæjlkude nudeneð sie gæjle dærnuj æjnd, æn er iel Irijkudeð gæjlle ijð eniðen. Nivi llutto kald Gæjlkude llærdurne deseð sad 20i balg morsj.

O: [ˈniə æi̯ ˈkæi̯lkʰyd æn͜ ˈæŋəlˌkʰyt | ˈkæi̯lkʰyt seˈtʰuə̯le ˈkʰyt | ˈkæi̯le ˈpiu̯lɾæjy setˈsuntʰe nə ˈt͡sɑ.yts æn͜ ˈkʰuluβi ˈɑu̯ndrə ˈkæi̯le ˈkʰuŋy ˈkʰøy̯nle ˈtʰut͡slən gə͜ ni ˈɾɑd uˈʰtesə | æn͜ ˈsɑsɑn ˈnæŋle ˈkʰuŋøy̯ ˈkæi̯lkʰyde ˈnydnə ˈsiə̯ ˈkæi̯le ˈtærnøy̯ ˈæi̯nt æn͜ eɾ͜ iə̯l ˈiræi̯ˌkʰydə ˈkæi̯ɬə æi̯ ˈnin | ˈniβi ˈɬyʰtu ˈkʰɑlt ˈkæi̯lkʰyde ˈɬærdyrne ˈtesə ˈsɑt ˈnæi̯ ˈpɑlk murɕ]

S: [ˈneːɣ iːl ˈkei̯kʰyd ẽn͜ ˈẽguˌkʰyt | ˈkei̯kʰyt seˈtʰuːβe ˈkʰyt | ˈkeje ˈpiu̯ɾeju setˈsũtʰẽ ˈt͡sɑlyts ẽn͜ ˈkʰuluβi ˈũːdɾəl ˈkeje ˈkʰũŋu ˈkʰø̃ỹ̯nuɣe ˈtʰut͡sũl gĩː ˈrɑd uˈʰtesəl | ẽ͜ ˈsɑsɑːɣən ˈnẽgβe ˈkʰũŋøy̯ ˈkei̯kʰyde ˈnydə̃l ˈseː ˈkeje ˈtẽrnøy̯ ˈẽĩ̯t ẽn͜ eɾ͜ ei̯ ˈiriːˌkʰydəl ˈkei̯ɬəɣ iːl ˈĩlə̃ | ˈniβi ˈɬyʰtu ˈkʰɑlt ˈkei̯kʰyde ˈɬeɾdyrne ˈtesəl ˈsɑt ˈnei̯ ˈpalk murɕ]

B: [ˈniə̯ɣ hei̯ɾ ˈkæi̯lkʰud æn͜ ˈæːgəlˌkʰut | ˈkæi̯lkʰut ʂeˈtʰuə̯li ˈkʰut | ˈkæi̯li ˈpøy̯lhæɻy ʂeʈˈʂuːtʰe nə ˈt͡ɕæɾydəs æn͜ ˈkʰoloβi ˈou̯ɖɚ ˈkæi̯li ˈkʰoːgu ˈkøy̯lɣi ˈtʰot͡ɕlənt kə͜ niː ˈɻɑd yˈʰtesəɾ | æː͜ ˈʂɑʂɑɣə ˈnæːgli ˈkʰoːgu ˈkæi̯lkʰudi ˈnudənəɾ ˈʂiə̯ ˈkæi̯li ˈt͡ʂæɳøy̯ ˈhæi̯t æn͜ ɚ ͜ hiə̯l ˈhirei̯ˌkʰudəɾ ˈkæi̯ɬəɣ hei̯ɾ əˈniɾə | ˈnøβi ˈɬuʰtu ˈkʰɑlt ˈkæi̯lkʰudi ˈɬæɖyɳi ˈtesəɾ ˈʂɑt ˈnæi̯ ˈpɑlk moʂ]

K: [ˈnea̯ɣ iə̯ð ˈkai̯lkʰud æ̃n͜ ˈæ̃ːgəlˌkʰut | ˈkai̯lkʰut ʂeˈtʰoa̯li ˈkʰut | ˈkai̯li ˈpeu̯ɭæju ʂeʈˈʂũːtʰe nə t͡ɕɑðudəs æ̃ː͜ ˈkʰoloβi ˈũə̯̃ɖəð ˈkai̯li ˈkʰõːgu ˈkʰõĩ̯lɣi ˈtʰot͡ɕlə̃ð kə͜ niː ˈɻɑd uˈʰtesəð | æ̃ː͜ ˈʂɑʂɑɣə̃ ˈnæ̃ːgli ˈkʰõːgu ˈkai̯lkʰudi ˈnudə̃nəð ˈʂea̯ ˈkai̯li ˈtæ̃ɳoi̯ ˈãĩ̯t æn͜ eɻ͜ ea̯l ˈirei̯ˌkʰudəð ˈkai̯ɬəɣ iə̯ð ə̃ˈniðə̃n | ˈneβi ˈɬuʰtu ˈkʰalt ˈkai̯lkʰudi ˈɬæɖuɳi ˈtesəð ˈʂɑt ˈnai̯ ˈpɑlk moʂ]

#frislandic #conlang #phonology #dialectology

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kyidyl · 1 year

Note

Excuse me, you're an anthropologist, correct? I want to go into forensic anthropology and was wondering if you had any good resources to look through as a sort of preliminary overview of the field.

I am, yes. Sadly, I'm not a forensic anthropologist and I really don't have a ton of info for you, especially bc I'm not sure exactly what you're looking for here. Job prospects? What the they actually do? How to become one? All of the above? I'll give you the quick and dirty of it. =D

Job Prospects: middling. There's not a ton of full-time forensic anthropologists in the world, but there are *some* and there's no reason it couldn't be you. Plus there are a number of part-time ones, and so you could do what one of my profs did and teach while also being a forensic anth.

What do they do: Forensic anthropologists are called in by the police when partial or fully decomposed human remains are found to do a few things. The first thing is determine if the remains are contemporary or historical. If they're historical they calls someone with qualifications similar to mine: Biological Archaeology, or just an archaeologist in general (especially in the US bc there are very specific laws.). If they're contemporary, then the remains are collected from it whilst treating it as a crime scene. Then the forensic anth evaluates the remains and determines things like age, sex, race, height, etc. I've mentioned this in my bones posts before, but this is done so that it's easier to match people up with the missing persons database and not because anthropologists are taught gender or race essentialism. They also look for cause of death - which is way harder than you'd think - so that the cops know if it's a murder, accident, etc. If it is murder then they often have to testify in court. They also deal with way more squishy bits than you'd think, so you need a strong stomach. They do work with coroners, but coroners aren't taught to evaluate heavily decomposed remains like forensic anthropologists are.

Becoming one: You need a bachelors in Anthropology, because most schools won't have a forensic anthropology degree. Anthropology is comprised of 4 fields: cultural, biological/physical, archaeology, and linguistics. When you get an anthropology degree in the US you learn about all 4 (which is actually very helpful even if you specialize.). Forensic is a subfield of bioanth, so when you're choosing a school, it's best to choose one that offers a lot of bioanth classes. After that, you'll need a graduate degree in forensic anthropology. Whether you need an MSc or a PHd depends on the country and you'd have to do some research there.

Anyway, hope that helps a little and if I have any forensic anth followers pls add on. ^_^

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cmuenvs3000w23 · 1 year

Text

A Historical Approach to Nature interpretation (Unit 06)

“There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things. …. To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.” (Edward Hyams, Beck at al. 2018, pp. 342)

I like the comparative nature this quote uses to exemplify history as a mobile entity that exists beyond the linear point-to-point dry analysis that seems to accompany this topic. Although the quote contradicts its initial standpoint by claiming "ancient things are without merit" and then further going on to standby the maintenance of the exact "things" that were dismissed unless comprised as valuable sections of the integrity of the whole.

Through my interpretation, this quote favours the both observable and record based documentation of history as an interconnected web of "integrity" or a valuable knowledge-based archive that is dependent on the strand of history one chooses to pursue. Through this analysis it touches upon this weeks course content surrounding the importance of expression through the written word and how history illuminates and provides a fundamental context to all lives processes.

The most important part of this quote in my opinion, is the dismissal of history as a "one stop station" that is isolated and otherwise insignificant outside of its conceptualization. Suggesting, that an ideal view of history through a non-linear lens and as connected circumstances that drive a process. From there, interpretation allows us to examine from multiple points of access that occur; pre-, post-, and amidst the details of historical record. Leading to the important takeaway of addressing the writing style and linguistic approach of recording history, is that although intended, it is practically impossible to remove the writer and their experience from the record. Everything in historical record is symbolic, from word choice to imagery to contents, all of the ways those individuals transcribed events are through a form of interpretive lens.

As contradictory as a find the opening to this quote, the tie in of the ridiculous analogy that history could be minimized to the role of a "floating" or otherwise randomly existent isolated station drives home the intended theme that how we record, experience, interpret, and sequence the process of life events is just as valuable a tool for us as interpreters when establishing different ways to connect or communicate with our audiences.

Excited to hear from you!

Cam

References

Beck, L, Cable, Ted T., Knudson, D. M. (2018). Interpreting Natural & Cultural Heritage. Sagamore-Venture Publishing. 2018

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zjofierose · 1 year

Note

10, 11, 19, 20, and one question of your choosing please

10: Top three favourite fic tropes. mmm arranged marriage; period/historical; slow-burn. all three in one is my holy grail :D (which, now that i think about it, i did kinda write that in It Is Before That, and Colder, though idk if that truly counts as a slow-burn.)

11: Three tropes that are fine but overrated. Coffee shop: it's fine, but not every pairing needs one. Similarly, office aus. Annnnd miscommunication, which is used waaay too much. LOL i'm such a grinch.

19: Share a snippet from a wip without giving any context for it.

“I need assistance.”

Laura looked up from the books she was sorting onto the returns cart. The man in front of her was on the younger side, maybe in his late twenties or early thirties. He was handsome, in a somewhat average way, and he had his elbows on her glass counter.

“How can I help you?” She kept her voice calm and friendly, even as she raised an eyebrow at his elbows. He didn’t take the hint, sighing gustily instead, his fingers spinning a battered-looking phone between his hands.

“My manager’s gone and quit with no notice, the asshole. I need help making some bookings.”

Laura blinked.

“Oh,” she said, “well, the public computers are over there.” She gestured toward the bank of screens against the far wall, currently occupied by a cluster of students, two retirees, and one college student who had better not be looking up porn again. “The log-in info is on the laminated cards taped to the top of each monitor. Please make sure to log out of any personal accounts when you’re finished, and please know that the library has a zero tolerance policy on NSFW content on the public machines.”

Turning back to the shelving cart, she picked up the next book and glanced at the spine. Linguistics.

20: Do you work on a single project or many at the same time? How does that work for you? a dear friend of mine used to describe my writing process as being 'all of the freeways in LA at rush hour' - there are thousands of cars, all going different places. some are at a standstill, some are moving along at a steady pace, and some idiot's always tearing recklessly through traffic. yes, i work on many projects at once, LOL. it works for me well enough, i suppose? i don't think i could do it any other way, tbh, so it's kind of irrelevant how it does or doesn't work, lol.

and dealer's choice gives me 34: Do you write to improve? Or is that not a concern for you? i do try to improve my writing as i do more of it. i wouldn't say that improvement is my only goal, or that i work all that hard on it in every story - heaven knows there are things i could do to work on things more (writing classes, reading books about it, etc) that i am 100% not interested in doing. but i love telling stories, and i want to tell good stories, and that means i am in a general way always trying to figure out how to tell better stories that connect to the audience even more strongly.

#homosociallyyours #meme me baby #ficcing is srs bzness

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peligrosapop · 1 year

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well how can he support catalan independence when his tam is part of spanish league make it make sense

Hi there, Joan Laporta is just one of many if not all president of the club who are in support of Catalan independence. This is nothing new. The clubs is linked to Catalan culture and language. Now, this is like asking someone that support ls Scottish independence why they are part of the UK. It’s a silly question because they didn’t have a say on it, did they? Imperialism works that way. There’s no such thing as a Catalan League, and even if they tried to me I’m sure the government would ban it. I don’t know if you know, but in 2017, they tried to do a Catalan referendum, and it was deemed illegal the same day. The police came and confiscated all the polling material, force people to go home, and we’re violent, they smashed a couple of heads up. Gerard Piqué came out in defense of the referendum and independence to the press because he had voted that day. It was so bad, Barça was playing Las Palmas that day, that they had to play with an empty stadium because the Spanish government and the police were worried that they would be riots in the stadium. One of the chants/song that is common and historic in the club is “In-de- Indepencia” . I remember, seeing in a video from the 21-22 season when we played against Napoli, that fans were in the Napoli away game sung that song. It’s part of the club. I am for independence of all people. I myself I am pro independence of Puerto Rico from the United States. I am pro independence of Palestine from Israel, pro Scotland being free from the UK. I am pro people from Kurdistan having independence from the various countries including Turkey. etc. I am an anarchofemenist-socialist, so, I think all people that feel that they are cultural-linguistic different and want to govern themselves, should! While we have governments. yea. Also, to end this discussion. You have to know that Spain was a right wing country until 40 years ago. They Franco as a dictator for like 50 years, Catalan culture and language was almost banned, you couldn’t have a kid with a Catalan named registered officially etc. Only Castellano (what we call Spanish) was allowed. For a long time the Barcelona stadium was one of the places where people expressed their Catalan language and culture. This is why the whole “more than a club” thing is a slogan for them.

and here’s Piqué emotionally talking about the referedum back in 2017

#fc barcelona #fc barcelona facts #Catalunya #Catalonia #independencia #fc barcelona explained #gerard pique #joan laporta

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greekbros · 2 years

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Hello! I have a question: I am trying to make a couple ocs inspired by Greek mythology (more specifically a satyr, a nymph and a silenus) the designs are already done, but I’m struggling a lot with the names. How do you come up with a seemingly Greek name? Is there a generator? Sadly I don’t know Greek myself so it’s not like I can make up one on the spot.

I understand if you’re busy so I hope this won’t take you too much time ^^’ thank you very much in advance :D

(well I usually go online and find a list of ancient Greek names. I would recommend to look up how linguistically a Greek name usually is made. For example, the Heracles is made up of two words "Hera" (the goddess) and "-cles" ("glory of" or "honor of") . It usually helps to read up on the translation of different names to get a better idea of how to create them)

(however these sites have been useful)

https://nameberry.com/list/691/ancient-greek-names

(this site has a pretty good list of both ancient and modernized Greek names.

https://en.m.wikipedia.org/wiki/List_of_ancient_Greeks

https://www.behindthename.com/names/usage/ancient-greek

http://users.uoa.gr/~nektar/history/language/greek_latin_derivatives.htm

(this is more of a list of real ancient Greek historical figures to get a better notion of what linguistic construction.)

https://en.m.wikipedia.org/wiki/Ancient_Greek_personal_names

(this is the construction of a personal name)

(outside from that much like any other language, you need to understand more of that language to further make your own name. This requires actually learning said language. )

(if I'm making a none canon mythical character, I would recommend using what was considered a common name or something that isn't too auspicious. For example, I have another set of characters I'm constructing (a group of Spartans) and they all have relatively simple names; Theo, Ambrosios, Nikos, Doros ...ects)

(please remember that modern day Greek names can be extremely different from their ancient Greek versions. Another thing to keep in mind that there are Latin and Christian versions of Greek names that have evolved over the years, so if you're strictly looking for ancient/ classical Greek than it requires a lot more linguistic research. You can try Google translate to translate some words but I don't recommend it for names. Baby name sites are a start buuuuuut it's still likely you'll accidentally find a name that really isn't Greek with me have come from a completely different country of origin)

(this is as much information I can give you, I would give a little more but even I'm still doing some research on it. Finding what are some prefixes and suffixes but also be helpful, basic translations of certain things because at times I did find names that are just translations of different items. This post is by far from an accurate Greek language lesson on how to construct a name, even I don't know much about doing it but often times doing research is usually the best course of action)

~Astrisk🏺

#greek mythology #hellenistic #art #greek posts #greek bros #greek language #asks #ask Asterisk

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hugintheraven · 1 year

Text

I posted 4,434 times in 2022

That's 1,637 more posts than 2021!

33 posts created (1%)

4,401 posts reblogged (99%)

Blogs I reblogged the most:

@hikari-ni-naritai

@jabberwockypie

@unpretty

@tooquirkytolose

@laikaspeaks

I tagged 2,212 of my posts in 2022

Only 50% of my posts had no tags

#q - 787 posts

#politics - 249 posts

#religion - 108 posts

#lgbtq - 92 posts

#dracula - 68 posts

#d&d - 54 posts

#science - 48 posts

#history - 44 posts

#about me - 38 posts

#linguistics - 35 posts

Longest Tag: 133 characters

#it's impossible for me to actually figure out how good it is because every single possible change is infinitely better than jj's crap

My Top Posts in 2022:

So, some basic thoughts

The sequence of events is basically Chris Rock makes joke, then Will laughs while Jada looks hurt, then Will walks up and slaps Chris, then Chris tries to play it off, then Will says “Keep my wife’s name out of your fucking mouth” until Chris agrees.

So I think initially Will didn’t register the joke. He’s an actor at the Oscars, Smile and Laugh is basically his job for the night. Then he saw how Jada was taking it and reacted to that. Which I like. It makes the situation less “don’t insult MY wife” and more “don’t hurt the woman I love”.

I also don’t think that was over the line. It was an extreme reaction, but this isn’t the first time she’s listened to jokes about her medical condition. It might be the last, though. Which appeals to me, honestly. It reminds me of high school, sometimes the only way to make people stop is to hurt someone. And Will kept it controlled.

Honestly, a good reminder to all stand-up comedians, late night hosts, etc, there’s some jokes you shouldn’t make. Learn where the line is and stay on the right side of it. Or invest in a good dental plan, whichever.

99 notes - Posted March 27, 2022

Dracula Daily and Fanfic

So, I decided to look into AO3 and see what this fandom produced since the beginning of *gestures vaguely* ALL THIS.

Historical context: Pre-2016, there were 166 fanfics total in the Dracula(Bram Stoker 1897) tag on AO3. 2016-2019, there was an average of 60 fics added to the tag per year. In 2020, Moffat dropped a BBC Dracula series and the fandom exploded, posting 242 fics in 1 year. 2021, things died down, only 156 fics posted, still far better than any pre-2020 year for the tag.

And in 2022, as of November 11, the tag has 320 new fics. Double last year, and the year’s not even over yet. Of those, 265 have been posted since May, which is more than the previous record year(Moffat), and this fandom did it in 6 months. Congratulations, that is legit impressive and I just want to say thank you to everyone involved. I hope to see more fanfics added to that list so that I have to revise my numbers even further in 2 months.

Now, some disclaimers. This data was gathered manually so I may have messed up some marginal things, and the practice of uploading other archives and backdating fics makes it more confusing. I have also not excluded crossovers. This means that this definitely includes some works based on the 2013 TV show(for example) that were tagged with this fandom as well, but defining a crossover in a useful way for my purposes here seems difficult. And I only checked the Bram Stoker Dracula tag, because the “All Works” Dracula tag will include plenty of other unrelated works. And of course, there’s fanfics that are in the tag for this year that aren’t Daily-related. But the conclusion is pretty clear anyway, this was a good year for Dracula fanfic.

181 notes - Posted November 11, 2022

So, that one 911 scene is based on a true story

See the full post

223 notes - Posted April 25, 2022

Summer is coming

Do NOT leave anything in your car that you aren’t willing to see melt. That includes pets and children. Yes, you’ll “just be 5 minutes”, but then there’s a line. You get some poor retail worker on their first day. And then you get back to your car and it’s 115 degrees inside. Don’t do that. Small creatures can’t regulate their temperatures as effectively as you, they can overheat and die very quickly. Bring them with you or leave them home, do not leave anything in your car.

1,868 notes - Posted April 24, 2022

My #1 post of 2022

Oh look, there’s a reason Elon’s suddenly become so transphobic recently. One of his 18 year old kids just filed name change paperwork. She’s going by Vivian Wilson now. All the support for her, and given how he’s behaved about this, hopefully one of Elon’s rockets screws up and renders him no longer anyone else’s problem.

2,648 notes - Posted June 20, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review

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