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spanishskulduggery · 1 year

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what are some of the most specific verbs you can think of

I realized halfway through that you were talking about REALLY specific verbs and by then it was too late.

So most of these are going to be verbs that you can actually use, just often in really specific situations. Many have other meanings today rather than what they actually meant at the time, but that's just how language is

mantear = to toss someone/something in a blanket (usually in celebration)

agonizar = to die slowly, to be dying

santiguarse = to make the sign of the cross

campeonar = to win a championship

enmadrar(se) = to become very close/attached to one's mother

afrancesar = to become like the French, to take on French mannerisms and culture, to act French

zarpar = to set sail

izar = to hoist, to raise a flag, to raise up (via ropes usually)

aguar = to water down, to add water to

acorazar = to armor up [lit. it meant "to put on a breastplate", but it has come to mean "to cover in armor" or "to add plating" similar to the verb blindar]

enramar = to cover in branches / to put in the branches

degollar = to slit someone's throat

añejar = to age [often said of wine or cheese] / to make something old

elaborar = to brew [lit. "to elaborate" or "to work on", it comes across as "to brew" for alcohol or when you're making soups or stews etc or just anything that takes a long time to get right; it kind of more literally means "to work on over a long period of time", that kind of "elaborate", but it can also mean "to elaborate" as in "to add more details"]

defenestrar = to dismiss / to throw someone out of the window

asomar(se) = to start to appear, to peek out, to lean out [it literally means "to show up upon/above", but it can be "(for a storm) to brew", or "to lean out of a window"... it also shows up in the expression hablando del rey de Roma (y por la puerta se asoma) which is "speak of the devil (and he shall appear)", but literally "speaking of the king of Rome and he leans in the doorway"]

embarrar = to cover in mud / to muddy / "to sling mud", "to play dirty" enlodar = to cover in mud

encanecer = to get gray hair, "to go gray"

ahorquillar = to make something forked / to make something look like a fork

velar = to stay awake / to stand vigil [it also means "to put on a veil", but velar as "to stay awake" is literally just no dormir "to not sleep", so it can be "to stay up all night"; the idea is related to "vigil" as in "the people who stay awake to keep watch", so it can be understood as to defend or to watch over someone especially at night]

arborizar = to forest, to plant trees

dactilografiar = to type [an old word; it literally means "to write with one's fingers", today it's usually teclar or tipear or just escribir but this especially was when people used typewriters]

emboscar = to ambush [lit. it means "to put in the woods" or "to (hide) in the woods"]

soslayar = to lay something on its side / to bypass

rociar = to spray, to sprinkle [lit. "for it to be dewy" or "for there to be dew"]

compincharse = to conspire [lit. "to become accomplices", "to accomplice oneself"]

pavonear(se) = to peacock, to parade around [lit. "to peacock", where it's related to el pavo real "peacock"; sometimes it's "to strut" and is compared to the walk of a turkey or peacock]

cabalgar = to go riding (on horseback)

encabalgar = to enjamb [in poetry], to use an enjambment / to rest upon

desengañar(se) = "to come to one's senses", to become disabused of a notion [lit. "to un-fool oneself"] / to become disappointed (by the true reality of a situation, usually)

morar = to dwell

ensimismar(se) = to become withdrawn, "to go into one's own little world"

ladrar = for a dog to bark, to bark

mugir = for a cow to moo, to moo

maullar = for a cat to meow, to meow

empalagar = to cloy, to be sickly sweet / "to lay it on thick", "to be overly kind/sweet"

engatusar = to trick (with flattery)

empanar = to bread, to coat in breadcrumbs

cecear = "to lisp" [it's related to the pronunciation of C, Z, and S; where el ceceo is excessively lisping for some people, but regionally that's an accent usually in parts of Spain]

ahijar = to adopt (a child), to care for a child as if they were your own prohijar = to adopt (a child)

amadrinar = to be a godmother, to sponsor a child (as a woman) amadrinar(se) = to become a bridesmaid

apadrinar = to be a godfahter, to sponsor a child (as a man) apadrinar(se) = to be a groomsman, to be the best man at a wedding

amainar = for wind/storms to die down [can also be used for headaches or panic attacks, generally something involuntary or a force of nature "dying down" or "stopping"]

peregrinar = to go on a pilgrimage, to make a pilgrimage

veranear = "to summer", to spend a summer somewhere

untar = to spread or smear (butter/cream cheese, anything spreadable)

amistar = to make friends, to befriend

enemistar = to make enemies

empollar = to incubate, to sit on eggs [lit. "to en-chicken" and I think that's beautiful]

parpadear = to blink [lit. "to eyelid"]

enchilar = to make spicy [lit. "to add chilis to"; it also means "to annoy", "to bother", "to make someone angry", or to feel other negative emotions in some countries - probably because "spicy" is related to "anger" or feelings of resentment in some expressions]

desahogarse = to vent, to unburden oneself, to talk about one's problems [lit. "to un-drown oneself"]

canturrear = to sing to oneself, to hum, to sing under one's breath [I think this is a mix of cantar "to sing" and tararear "to hum"]

azogar = to cover in silver / to fidget [lit. related to el azogue "quicksilver" which is the old word for mercury, it's believed azogar as "to twitch" or "fidget" is related to what people would do if they were suffering from mercury poisoning like from cinnabar]

encapuchar / encapotar = to cloak, to put a cloak on

embutir = to stuff, to pack / to stuff oneself, to pack food in your face, to wolf down

empachar, empapuciar, empapujar, empapuzar = to be sick to your stomach / to get indegestion / to eat (to the point of feeling sick) / "to be fed up", "to be sick of"

apedrear = to stone, to throw stones at someone (to death usually)

apellidar(se) = to take on a surname, to take a last name [it's also "to be called" same as llamarse but for last names - like "my last name is"]

ningunear = to give someone the cold shoulder, to ignore someone [lit. "to nobody someone"]

desamar = to fall out of love

romancear = to translate into a Romance language [usually Spanish and/or Latin; but it means something a bit different now]

callejear = to wander the streets, to gallivant

algodonar = to stuff with cotton, to bunch together a lot of cotton / to insulate or block up (usually with cotton)

esquilar = to shear (sheep) / to cut off a lot of hair, to shear

desquiciar(se) = to become unhinged [lit. it means "to come off its hinges" for doors; but it came to mean "to lose one's mind" the same way "unhinged" does in English]

encarpetar = to file away / to put in a folder / to shelve / to bury in paperwork

merendar = to have a snack / to have tea time [lit. "to have la merienda" which in some countries is translated as "a snack" or "high tea", but it's one of the meals of the day like a light lunch or second breakfast kind of thing]

anegar(se) = to flood, to become flooded/inundated

escopetear = to shoot with a shotgun

desacralizar = to demystify / to remove the holy or godly quality of something, to remove what's intimidating about something

encastillar = to fortify / to place or lock in a castle

desafinar = to be off-key, to be out of tune / "to be/sound out of whack" [usually said of the voice or musical instruments]

desahuciar = to evict / to declare something or someone to be a lost cause / to declare someone is terminally ill

trajear = to put on a suit / to look nice / to get dressed up

neologizar = to make up new words or expressions

Also, there's embarcar and desembarcar which are "to embark" and "to disembark"... but literally it means "to get on a boat" and "to get off a boat", which now extends to other stuff

Also very specific - aterrizar is "to touch down" or literally "to land on earth", so it now applies to planes "landing" or rockets coming back. But in that same vein:

amerizar = to land in the ocean

alunizar = to land on the moon

amartizar = to land on Mars

And so on... so you could say ajupiterizar for "to land on Jupiter", or aplutonar "to land on Pluto" in theory

You also have a lot of cooking verbs like this - encebollar is "to cover in onions" or "to add onions", or a very specific but useful one is hornear "to bake" which is literally "to put in the oven". There's also endulzar "to sweeten" or salar "to salt". There's also aceitar or enmantequillar which are "to oil" or "to butter", related to untar... though I believe both aceitar and untar can also mean "to bribe" [standard is sobornar] sort of like "to grease palms" in a way.

...Things that are really specific but also commonplace because of cooking

Related but you have verbs like almibarar "to cover in syrup" or "to honey", or almidonar "to starch" for clothes where it's "to add starch"

I would also add two that are in some contexts really specific - acostar(se) which is often "to sleep" or "to have sex with" literally means "to lie down on one's side"; and tumbar(se) which is also "to sleep" or "to go to bed" generally means "to lie flat on one's back" which I think is related to how bodies were placed in tombs [tumbas] hence the name

Also important note: there are many words that gained additional meanings over time, especially in technology. The prime examples are encender and apagar where encender meant "to light a fire", but it came to be "to turn on (an electronic device)" and "to turn on the lights" - similarly apagar meant "to extinguish (flames/a candle)" and now also means "to turn off electronics/lights"; these actions probably came from lighting lamps or candles etc but became different over time

Another good example is navegar "to navigate" which originally meant "to sail in a ship" which came to mean "to navigate", and also today means "to explore" or "to surf the web online" or "to browse"

And of course, who could forget desparangaricutirimicuarizar which is from a tongue twister involving a town and a volcano, don't worry about it

#Spanish #langblr #spanish vocabulary #learning spanish #language learning #asks #language #languages #vocabulario #so much vocab

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layce2015 · 6 months

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John Wick Chapter 4 (John Wick x Female!Reader)

Chapter 3: Ruska Roma

First Chapter

JW4 Masterlist

John and (y/n) make their way to the subway and get inside. They go and sit down on the seats and John pulls out the pin badge he grabbed. "What is that?" (Y/n) asked him. He looks over at her and was about to reply when he sees Akira staggering in, holding her bleeding side. John and (y/n) stand up and they realize Shimazu wasn't with her and judging by the look on her face, he didn't make it.

"Who is he?" Akira asked John as she walks over to them, the train starting to move. "He was a friend." John said and Akira glares at John. "My father is dead because of you and her. Because of what you did." Akira said as she walks closer to the couple. "So either you kill him...or I will." She said. "I understand." John said and they share a look and Akira sighs then turns.

"Do you need..?" (Y/n) asked her but she shakes her head as she goes to the door of the train. The train stops and the door opens. "Goodbye, Mr and Mrs Wick." She said and she walks out of the train and the door shuts behind her.

It had been a couple of days since John and (y/n) had returned from Japan. (Y/n) was sitting on the bed her and John slept on in this hideout The Bowery King offered to them. She looks down at the bracelet that Helen gave her for her 16th birthday. She runs her fingers over the charms until she lands on the daisy charm.

Her eyes fill with tears as she remembers when she opened the present to see this bracelet. She remembers the excited smile that Helen had and how she asked (y/n) what she thought about.

Flashback

"Hmm...I don't know. I think there's a missing charm." (Y/n) said and Helen gives a worried look. "What?! No, no, no..." she said and she looks at the bracelet, only to see it was fine. "You." She grumbles and she shoves (y/n)'s shoulder, making (y/n) laugh. "Sorry, Helen. Couldn't help it." (Y/n) laughs and Helen rolls her eyes.

"Don't do that! Almost had an heartattack!" Helen said. (Y/n) smiles and looks down at the bracelet. "Thanks, Helen. I love it!" (Y/n) said and Helen smiles. "I figured you would. I know in a couple of months I'm gonna be gone to college and I'll be away from you. So, I thought...well, it might be cheesy but...I thought that whenever you feel sad or scared, always look at this bracelet and know that I'll always be with you, even when I'm not." She said.

(Y/n) smiles then laughs a little. "You're right. That is cheesy." (Y/n) said and Helen rolls her eyes again. "Last time I get you a present." Helen laughs, sarcastically, and (y/n) laughs with her.

Present Day

The sound of the door opening pulls her out of her memories and she looks up to see John walking in. "Hey." He said. "Hey." She greets, softly. "We, uh...we need to go. Winston has asked to see us." John tells her and she nods. "Okay..." (y/n) said as she puts her bracelet away and stands up and The Bowery King comes up.

"He said to meet him at the memorial park." The Bowery King said and (y/n) nods then looks at John. "You think we have time to make a quick stop?" (Y/n) asked him and John looks at her then nods at this.

Later, John and (y/n), who was holding one white rose, walk along the snowy grounds of the memorial park while Winston lights a candle for Charon, who had a plaque on the memorial wall. The couple come upon Winston, who had his back to them as he looks at the plaque.

"Winston." John greets. "Johnathan. (Y/n)" Winston said, still not looking at them. "Our condolences." (Y/n) said, apologetically. "He was a good man." John said. "Yes, he was." Winston said and he turns to face them. "Taken for our sins." He said and John looks down then he steps forward, pulling the pin badge out of his coat pocket.

"Who is this?" John asked Winston as he holds up the badge. "The Marquis de Gramont. Elevated only by his guarantee of killing you. All the resources of the Table are at his disposal." Winston said. "Where do we find him?" John asked him. "Paris." Winston replied and John nods, slightly, and he pockets the badge while (y/n) walks over to Charon's plaque.

She gets right up on it then places the white rose on the ledge then gives a slight prayer for Charon. She didn't know him very well but the little time she spent with him, he was very kind.

"Where will it end?" Winston asked and (y/n) turns around as John comes up to her. "With him dead." John said as he turns to face Winston. "Oh. And then?" Winston asked, condensindingly. John stares at him then back at his wife.

"Have you learned nothing? They will replace him before the body's cold. Hercules had his Hydra. You have The Table except you'll run out of bullets before they run out of heads." Winston said as he walks up to them. "Kill him, but do it the smart way. And get him to give you your freedom." Winston tells him.

"How?" John asked him. "Turn his rules and consequences against him. Challenge him to single combat." Winston said and John gives him a confused look as (y/n) looks between them. "High Table duels are a myth." John said. "Wrong! They're a cold hard fact, and part of the foundation of The Table to stop its more combustible members from outright war. It's also, win or lose, what you say you want, a way out." Winston explains.

"I don't sit at The Table." John said, shaking his head. "Your family does. Get them to issue the challenge and then offer you up as proxy." Winston said. "I don't have a family. The Ruska Roma tore my ticket. She's my only family." John said as he gestures to (y/n). "Then I suggest you get your ass to Berlin and get it mended. Or...pick a plot." Winston said and he turns and walks away.

"What do you get out of this, Winston?" (Y/n) asked him, curiously, and he stops and turns to them again. "What your husband is so good at getting, Mrs Wick. Revenge." Winston said and he walks away, leaving the couple behind.

A couple of days later, John and (y/n) were walking along the streets of Berlin. (Y/n) looked around and was enjoying the sites, even though where they were going was very important.

"Kinda sad that we can't take our time." She said and John turns to her. "The sites here are very pretty. Wouldn't mind spending a day or two here." She said and John looks down then back at her. "Maybe one day. When this is all done." He says and she raises her head to look up at him for a moment then smiles. "I'm holding you to that." She said and John smiles at her while she takes his hand in hers as they continue to walk along.

They make their way under a bridge and walk up to a doorway with a symbol that looked like a cross adorn above it. They walk up to the door while across the road, Mr Nobody walks out then pulls his book of information out and looks at it.

John and (y/n) enter the building to see a woman sitting nearby, holding a basket. She holds it out to them as they walk up to her and they start to pull out their guns and weapons. "Cool revolver...Vintage." the woman said as they place their weapons inside.

"Everything?" She asked and they nod and she gestures for them to continue. John and (y/n) walk down the aisle as there were several people at the pews, sitting and praying until they noticed the couple walking. The people raised their heads to look at the newcomers as John and (y/n) come upon the priest that was standing at the chapel.

"Father..." John said. "Yes, my son." the priest said and he raises his head. "I need to speak to Uncle Pyotr." John said just as the priest pulls out a shotgun. (Y/n) lets out a squeal and John grabs her then shields her as the priest fires his gun, making the couple fly back and land on the ground with an oof.

"Nice suit." The priest said as he walks up to the couple and a couple of men grab John while another man grabs (y/n).

Later, John wakes up to see he is in a circular room, surrounded by other members of the Ruska. Two of them had a hold of (y/n), who was struggling in their grip and looked beyond terrified. "John!" She cried as he realized that he was hanging by noose around his neck, sitting in a chair and his hands bound together by rope.

Then a woman and three priest stand before him. "The prodigal son returns..." the woman said and a man behind John moves the crank, making it jerk John up a few inches. "But this isn't your home anymore, is it...Johnathan Wick?" The woman asked. "You grew up, Katia." John tells her. "And you got old. Then again, it's been awhile." Katia said.

"I need to talk to him." John said and Katia glares at him then nods to the man by the crank and he moves it, making John go up to where it looks like he was standing. (Y/n) struggles again against the men's grip but they hold onto her.

"You are forgetting we are still under The Table. And last I checked, you are Excommunicado and your ticket was torn. You have no business with us." Katia said and she nods again and John was lifted up a few more inches. "Stop, please!" (Y/n) pleads but then she was punched in the gut. "That's for Pyotr to decide." John said, struggling with the rope getting tighter and tighter around his neck.

"Pyotr is dead!" Katia shouts, angrily, and John looks down at the floor. "After you put a bullet in The Elder's head, the Marquis had one put in Pyotr's. And in fine Russian tradition, he sent us the bill." Katia said as she walks up to John, chuckling. "Because of you, I had to kneel in front of the man who murdered my father." She tells him. "Then we have a common enemy. We can help each other." John pleads to her.

"You can't even help yourself or your little woman over there." Katia said as she gestures over to (y/n). "How the hell are you going to help us?" She asked him. "By killing this Marquis." John replied. "They just appoint another. His death changes NOTHING." Katia said and she walks away and the man uses the crank again and John goes up a couple more inches.

"It does if he kills him in a duel!" (Y/n) shouts, hoping that'll make this woman to stop killing John. Katia stops and looks over at (y/n), for a moment, then over to the priest. One of them walks over to her and leans in to whisper. "The Old Ways are clear on the matter...but for a duel to be sanctioned by The Table...he would need to be a member of a family...and have a Crest."

Katia rolls her eyes then turns to look around the room then at John then over to (y/n). "How many did you kill to get out?" Katia asked John. "A lot." John replied, still struggling with the rope pulling at his neck. "You will only have to kill one to get back in. The bastard who murdered my father." She said and (y/n) gasped then looks over at John. "Give me the name." John said.

"Killa Harkan. You will find him at Himmel and Hölle. When he's dead, I will mend your ticket." Katia said. "And the Crest?" John asked her. "Harkan first, then we talk. Bring proof of death." Katia said and she gestures with her hand and the man releases the crank and John falls to the ground.

"John!" (Y/n) said, concerned, as the men let her go and she runs over to him. "You okay?" She asked him, in a whisper, and he nods before he turns to Katia. "I'll need a way in." John said and two men came up to John, picked him up and placed him on the chair. "I know a way. Klaus will take you." Katia said and an older man with tattoos over his face, lip piercings and a gray beard with long slicked back hair comes up to John and (y/n).

"I am Klaus." Klaus said and he hits John across the face with his cane. (Y/n) yelps in fear as John recoils from the impact then looks up at Klaus. "John." He greets. "I am Klaus." Klaus said again before he strikes John across the face again. "Stop it!" (Y/n) shouts at Klaus before he turns to her. "I am Klaus." He said again and he hits her across the face with his cane.

#fandom #fanfic #fan fiction #reader insert #x reader #john wick chapter 4 #john wick x you #john wick x reader #john wick imagine #john wick fanfic #john wick #keanu reeves #movie fan fiction #fan fic writing

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nefes3534 · 2 months

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Gipsy Kings - No Volvere ( Amor Mio) / Un Amor

youtube

Yunanlı'sına EROS, Roma'lısına AMOR dediler,

İkisini de Tanrı yaptılar aşkın başına…

Tanrı olmak basitti de hiç gerçek olamadılar…

Biri Yunan'ca ağıtlar yaktı, yazdı ceylan derilerine…

Diğeri ağladı Roma'ca…

Gün bitti, değişti zaman…

Ne Roma kaldı geriye, ne Eski Yunan…

Eros'tan hediyelik eşya yaptılar,

Amor'dan parfüm, mis gibi kokan…

Tanrılıklarını satıp ekmeklerini kazandılar…

AŞK ateistti, çok geç anladılar…!"

#youtube #tumblr #günaydııın #müzik

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religio-iapygiorum · 7 months

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MENZANAS

.: iapygian deity associated with horses :.

[IMG TRANSCRIPTION: H Y Z I H … Δ Ε Λ Ε Μ Ε Ζ Η Ν Α Ι | DESCRIPTION: a ring found in the village of Duvanli, Bulgaria, depicting a horse with a rider. | SOURCE: Ivan Duridanov, The Language of the Thracians, VI: The Thracian inscriptions.]

.: :.

While Menzanas is also considered an epithet of Zis (Zeus), and the Roman grammarian Festus calls him Iuppiter Menzana, Menzanas may well have originally been a deity of his own. Just as Iuppiter and Zeus are kings among gods, Menzanas seems to have been super important in Messapia, so it’s….. plausible that your average Roman travel writer was like “oh so he’s Jupiter then, got it.” After Roman conquest, however, inscriptions in sanctuaries show that Jupiter and Menzanas truly were syncretized by worshipers.

“Menzanas” basically means “horse guy” in Messapic. Various Greek/Roman writers mention that a horse was sacrificed each year to Menzanas in Messapia. Even Messapus, the friend of Aeneas who Messapia is named for (by outsiders), was a horse-tamer in the Aeneid.

I’ve seen multiple scholars refer to Menzanas as “la somma divinità”—the supreme divinity of the Messapians. Greek- and Latin-speaking authors describe a yearly ritual among Messapians in which a horse is burned in sacrifice to Menzanas. This is one of the only etic descriptions we have of Iapygian ritual—the rest of our understanding of Iapygian religious practices comes almost entirely from archaeological evidence.

.: :.

Sources:

Ciro Santoro, “Il lessico del ‘divino’ e della religione messapica,” in Atti del IX Convegno dei Comuni Messapici, Peuceti e Dauni, Oria 24-25 novembre 1984 (Bari: Societa di Storia per la Puglia, 1989), 139-80.

J.-L. Lamboley, Recherches sur les messapiens (Roma: École Française de Rome, 1996), 434-435.

Ivan Duridanov, The Language of the Thracians (Sofia: Nauka i izkustvo, 1976). Abridged English translation referenced here: https://groznijat.tripod.com/thrac/index.html]

#oh also ‘etic’ means the description is coming from people outside of the group that’s being described #as opposed to ‘emic’ which comes from within #menzanas deity #jupiter deity #zeus deity #religio iapygiorum #religio romana #cultus deorum #hellenic polytheism #helpol #messapian #the aeneid #it’s been a while and my books STILL aren’t here #international shipping boooooooo

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apavorantes · 3 months

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HEADCANONS & CURIOSIDADES.

1. Bishop nunca atende pelo nome de batismo, Mary Ann, preferindo ser chamada pelo sobrenome (que, aliás, vem do pai mortal que a criou). Assim, você nunca a verá apresentando-se como Mary, Mary Ann, Ann ou qualquer coisa que não seja apenas Bishop.

2. Sua mãe é uma escritora de terror e suspense que assina com o nome Bishop Ono, a junção de seu sobrenome de casada e sobrenome de solteira. Mais de uma vez, foi citada como “a versão feminina de Stephen King”, embora sua fama esteja longe de tornar-se tão grandiosa. Bishop acredita que foi por isso que ela chamou a atenção de seu pai divino, o deus do medo.

3. Falando em sua mãe, mesmo após o divórcio, ela continuou com o sobrenome de casada para ter o mesmo sobrenome que a filha.

4. Seus avós maternos são imigrantes japoneses, e foi através deles que ela se tornou fluente em japonês. Além disso, Bishop sabe ler e escrever em grego (a fala ainda é um pouco prejudicada) e está, aos poucos, desenrolando o latim.

5. Suas cores favoritas são preto e roxo, e qualquer um percebe isso, já que, quando não está sendo obrigada a usar a camiseta laranja do Acampamento Meio-Sangue, suas roupas e maquiagem têm essa mesma paleta praticamente o tempo todo, com algumas variações em vermelho e azul. Além disso, a farda do Acampamento que usa é customizada e coberta de acessórios, ao ponto em que o laranja fica até apagado.

6. Desde seu retorno, o chalé 33 está sempre com um leve cheiro de lavanda ou capim: Bishop ama velas aromáticas e costuma acendê-las para ler.

7. Ela é canhota, e, enquanto estava aprendendo a escrever, além de ter que lidar com professores tentando ensiná-la a escrever com a mão errada, ainda desenhava as letras espelhadas graças à dislexia ainda não diagnosticada.

8. Ela sempre quis ter um gato preto de estimação, por mais clichê e esperado que seja. A mãe nunca a permitiu, no entanto, por acreditar que gatos pretos trazem má sorte — Bishop odeia quando ela fala coisas assim.

9. Em Nova Roma, Bishop estava estudando História, focando-se em Mitologia Grega, com a intenção de eventualmente tornar-se professora de História no mundo mortal. Contudo, também possui muito interesse em alquimia, poções e outras atividades que, normalmente, estão reservadas às crias de Hécate e Circe.

10. Desde que chegara a Nova Roma, sua percepção do Acampamento Meio-Sangue sofreu algumas mudanças. Além de preferir a organização romana ao caos grego, possui certa mágoa dos diretores do Acampamento, pois eles pouco parecem se importar com a qualidade de vida e longevidade dos semideuses.

Inspirações: Darkling (Sombra e Ossos), Tyrone Johnson (Cloak and Dagger), Breu (A Origem dos Guardiões), Sonho (Sandman), Wandinha Addams (Wandinha).

#⊰ 𝖘𝖎𝖝 — development. ⊱

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blackswaneuroparedux · 1 year

Photo

Dette landet Harald berget med sin kjemperad, dette landet Håkon verget, medens Øyvind kvad; Olav på det landet malet korset med sitt blod, fra dets høye Sverre talet Roma midt imot.

Bønder sine økser brynte hvor en hær dro frem; Tordenskjold langs kysten lynte, så den lystes hjem. Kvinner selv stod opp og strede som de vare menn; andre kunne bare grede, men det kom igjen!

Visstnok var vi ikke mange, men vi strakk dog til, da vi prøvdes noen gange, og det stod på spill; ti vi heller landet brente enn det kom til fall; husker bare hva som hendte ned på Fredrikshald!

Hårde tider har vi døyet, ble til sist forstøtt; men i verste nød blåøyet frihet ble oss født. Det gav faderkraft å bære hungersnød og krig, det gav døden selv sin ære — og det gav forlik.

- Ja, vi elsker dette landet - Yes, we love this country (1864)

Yes, we love this country as it rises forth, rugged, weathered, over the water, with the thousands of homes, love, love it and think of our father and mother and the saga-night that lays dreams upon our earth

Norwegian man in house and cabin, thank your great God! The country he wanted to protect, although things looked dark. All the fights fathers have fought, and the mothers have wept, the Lord has quietly eased so we won our rights.

Yes, we love this country as it rises forth, rugged, weathered, above the sea, with those thousand homes. And as the fathers' struggle has raised it from need to victory, even we, when it is demanded, for its peace will encamp (for defence).

There’s no real proper translation of the song traditonally sung to celebrate Norway’s Constitution Day on 17 May.

‘Ja vi elsker’ has a long history as a nationalist song and a song of protest. In the last days of the Norway-Sweden union, Swedish socialists sang the song in support of the Norwegian right to leave the union.

During World War II, Norwegian resistance members used the song. It had originally been used by Nazi collaborators as a propaganda song, but the regime eventually banned its use because of its connection to the resistance.

Bjørnstjerne Bjørnson began to write the lyrics of what he intended to be a patriotic song around 1859. An accompanying melody was written by his cousin Rikard Nordraak sometime during the winter of 1863-1864. The song's first public performance took place on 17 May 1864, to mark the 50th anniversary of the Norwegian constitution.

Over many decades, Ja vi elsker eventually replaced Sønner av Norge (Sons of Norway) as the de-facto national song, but both were used for long periods of time until the early 20th century. In December 2019, Norway officially adopted Ja vi elsker as the official national anthem.

While Ja vi elsker is commonly heard at sporting events and on the constitution day, there are other national songs used in various situations. Sønner av Norge had the title of national song for many decades. Since 2011, Ole Paus' Mitt lille land has been referred to as a “new national song” and it was used several times in connection with the 2011 terror attacks.

There is also an unofficial Royal anthem known as Kongesangen, or the King's song. It is played alongside Ja vi elsker on 17 May. Brits will instantly recognise it as the melody is the same as the British national anthem, God Save the Queen.

Gratulerer med dagen!

17 May: Happy Constitution Day Norway!

#constitution day #norwegian constitution day #17 May #norway #norge #national anthem #song #nation #national day

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filmparaden · 6 months

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Trouble Every Day (Claire Denis, 2001)

Wings Of Desire (Wim Wenders, 1987)

Sympathy For The Devil (Jean-Luc Godard, 1968)

Dekalog (Krzysztof Kieslowski, 1989)

Russian Ark (Aleksandr Sokurov, 2002)

Tale Of Tales (Yuriy Norshteyn, 1979)

Time Regained (Raoul Ruiz, 1999)

Aguirre, der Zorn Gottes (Werner Herzog, 1972)

Grey Gardens (Albert & David Maysles, Ellen Hovde, Muffie Meyer; 1975)

One From The Heart (Francis Ford Coppola, 1981)

Man With A Movie Camera (Dziga Vertov, 1929)

Dogville (Lars von Trier, 2003)

Sombre (Philippe Grandrieux, 1998)

Cul-de-sac (Roman Polanski, 1966)

Brown Bunny (Vincent Gallo, 2003)

Le feu follet (Louis Malle, 1963)

The Swimmer (Frank Perry, 1968)

A Special Day (Ettore Scola, 1977)

La maman et la putain (Jean Eustache, 1973)

The Battle Of Algiers (Gillo Pontecorvo, 1966)

The Big Lebowski (Joel & Ethan Coen, 1998)

Touch Of Evil (Orson Welles, 1958)

Playtime (Jacques Tati, 1967)

The Long Goodbye (Robert Altman, 1973)

Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

Rashomon (Akira Kurosawa, 1950)

Eternal Sunshine Of The Spotless Mind (Michel Gondry, 2004)

A Summer's Tale (Eric Rohmer,1996)

The Turin Horse (Béla Tarr, Ágnes Hranitzky; 2011)

Baby Doll (Elia Kazan, 1956)

Daisies (Vera Chytilová, 1966)

Unsere Afrikareise (Peter Kubelka, 1966)

Thérèse (Alain Cavalier, 1986)

La jetée (Chris Marker, 1962)

Le gamin au vélo (Jean-Pierre & Luc Dardenne, 2011)

Les 400 coups (François Truffaut, 1959)

The Piano (Jane Campion, 1993)

I'm Not There (Todd Haynes, 2007)

Killer Of Sheep (Charles Burnett, 1978)

The Piano Teacher (Michael Haneke, 2001)

Dead Man (Jim Jarmusch, 1995)

The Women (George Cukor, 1939)

Pickpocket (Robert Bresson, 1959)

Paper Moon (Peter Bogdanovich, 1973)

Don't Look Back (D.A. Pennebaker, 1967)

Little Fugitive (Ray Ashley, Morris Engel, Ruth Orkin; 1953)

Midnight Cowboy (John Schlesinger, 1969)

The Night Of The Hunter (Charles Laughton, 1955)

The Ice Storm (Ang Lee, 1997)

Man On The Moon (Milos Forman, 1999)

Eyes Wide Shut (Stanley Kubrick, 1999)

Enter The Void (Gaspar Noé, 2009)

Snatch (Guy Ritchie, 2000)

The New Land (Jan Troell, 1972)

Los olvidados (Luis Buñuel, 1950)

Border Radio (Allison Anders, Dean Lent, Kurt Voss; 1987)

Vertigo (Alfred Hitchcock, 1958)

The Adventures Of Prince Achmed (Lotte Reiniger, 1926)

Les triplettes de Belleville (Sylvain Chomet, 2003)

Brief Encounter (David Lean, 1945)

Gare du Nord (Jean Rouch, 1965; segment of Paris vu par... )

Vagabond (Agnès Varda, 1985)

Slap Shot (George Roy Hill, 1977)

Le sang d'un poète (Jean Cocteau, 1932)

Breathless (Jim McBride, 1983)

Stop Making Sense (Jonathan Demme, 1984)

Upstream Color (Shane Carruth, 2013)

Saturday Night And Sunday Morning (Karel Reisz, 1960)

Gadjo dilo (Tony Gatlif, 1997)

Rebel Without A Cause (Nicholas Ray, 1955)

A.K.A. Serial Killer (Masao Adachi, 1969)

The King Of Comedy (Martin Scorsese, 1982)

The Hours (Stephen Daldry, 2002)

In A Lonely Place (Nicholas Ray, 1950)

The Honeymoon Killers (Leonard Kastle, 1969)

Meshes Of The Afternoon (Maya Deren, 1943)

When We Were Kings (Leon Gast, 1996)

Broadway Danny Rose (Woody Allen, 1984)

A Woman Under The Influence (John Cassavetes, 1974)

To The Wonder (Terrence Malick, 2012)

Beavis And Butt-head Do America (Mike Judge, 1996)

Araya (Margot Benacerraf, 1959)

Kes (Ken Loach, 1969)

Skammen (Ingmar Bergman, 1968)

Duel (Steven Spielberg, 1971)

The Bridges Of Madison County (Clint Eastwood, 1995)

The Man Who Fell To Earth (Nicolas Roeg, 1976)

Roma città aperta (Roberto Rossellini, 1945)

Diva (Jean-Jacques Beineix, 1981)

Limite (Mario Peixoto, 1931)

The Fountain (Darren Aronofsky, 2006)

La cérémonie (Claude Chabrol, 1995)

The Draughtman's Contract (Peter Greenaway, 1982)

Amour fou (Jessica Hausner, 2014)

Happiness (Todd Solondz, 1998)

Hausu (Nobuhiko Obayashi, 1977)

Before The Devil Knows You're Dead (Sidney Lumet, 2007)

Gomorra (Matteo Garrone, 2008)

The Full Monty (Peter Cattaneo, 1997)

Låt den rätte komma in (Tomas Alfredson, 2008)

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nevzatboyraz44 · 1 year

Text

The so-called "Roman King" built in 1811

The throne cradle of Napoleon's son (Photo from the Kunsthistorisches Museum)

Cradle was born on March 20, 1811, by their son, Napoleon.

Napoleon on the occasion of the birth of Franz Karl and a gift from the city of Paris to his second wife, Marie Louise. To continue the tradition of the Holy Roman empire, the father immediately gave the title "king of Rome", so the cradle had to be as glorious as the throne.

بني ما يسمى ب "الملك الروماني" عام 1811 م

مهد العرش لابن نابليون (الصورة من متحف Kunsthistorisches)

ولد كرادل في 20 مارس 1811 من قبل ابنهما نابليون. نابليون بمناسبة ولادة فرانز كارل

وهدية من مدينة باريس لزوجته الثانية ماري لويز. لمواصلة تقليد الإمبراطورية الرومانية المقدسة ، أعطى الأب على الفور لقب "ملك روما" ، لذلك يجب أن يكون المهد مجيدًا مثل العرش.

1811 yapımı sözde "Roma Kralı" olan

Napolyon'un oğlunun taht beşiği (Fotoğraf Kunsthistorisches Müzesi'nden)

Beşik, 20 Mart 1811'de oğulları Napoleon

Franz Karl'ın doğumu vesilesiyle Napolyon ve ikinci eşi Marie Louise'e Paris şehrinden bir hediye. Kutsal Roma imparatorluğu geleneğini devam ettirmek için baba hemen "Roma kralı" ünvanını vermiş, bu yüzden beşiğin taht gibi görkemli olması gerekiyordu.

https://instagram.com/nevzat.boyraz44

#türkiye #doğa #travel photography #travel destinations #travel #manzara #view #natural #europe #africa #roma #bizans #Spotify

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jg-abuyuan-art · 22 days

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City Shots 5 (2022)

My opportunities to visit heritage sites have been few and far in between, what with recent upheavals and major life milestones coming about. Unlike in the 2010s, where I could make these trips on a whim, things were different in the 2020s. Up until I earned enough to go on trips on my own, I largely traveled with my family, especially during the pandemic. The images taken here were taken during Holy Week, when my father agreed to do our annual Visita Iglesia in the Old City of Intramuros.

The shots were taken using two phones (an older phone was used in some shots as a precautionary measure against thieves). Due to the afternoon heat, my family could only go down one road rather than pray through all the stations scattered in the district. Despite this setback, I had enough time in between prayer to take a modest selection of images of the reconstructed and themed structures of the city.

This is the first of two parts. View the second post here.

Important historic notes (including one about the street art) below the cut!

Camera: iPhone 6 and iPhone 7

Location: Plaza Roma, Luna Street, various side streets, and the Plaza San Luis Complex, Intramuros, Manila, Philippines

Date: 14 April 2022

Usage rights: By request. Noncommercial only.

Only one building complex, the San Agustin Church and convent, truly survived the bombings of World War II. Older historic buildings (including the Manila Cathedral and the Ayuntamiento de Manila) had to be rebuilt. One building, the Casa Manila Museum, was a reconstructed structure from a different district altogether.

Some of the newer buildings were also made to superficially resemble 18th and 19th Century colonial buildings. The district's current administration mandated that all new structures in the city must be in that style to preserve its atmosphere. The result is not quite an authentic historic district but what feels sometimes like a theme park version of one.

Featured in the parking lot street art is Manila's heraldic animal, the "sea lion," a chimerical mix of the front parts of a lion and the tail of a fish (not to be confused with the animal of the same name). The coat of arms of Manila, which included this creature, was first bestowed upon the city by King Philip II on the 20th of March 1596. This is not to be confused with the Singaporean merlion, which is a chimerical beast with the head of a lion and the body of a fish, first used in 1964.

#photography #city shots #urban #urban photography #architecture #buildings #trees #church #colonial philippines

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secret-tester · 5 months

Note

3, 4, and 14 for the question asks :]

Thanks for the ask my freind!! Here we go!!!

3) 3 films you could watch for the rest of your life and not get bored of?

Those three films are Glory, Shrek 1, and Shrek 3. (Im a nerd and Shrek fan... Leave me alone...)

4) What’s an inside joke you have with your family or friends?

*GASP* Hablando del Rey de Roma....

(*GASP* Talking about the King of Rome...)

Something I have with my famliy...

14) What’s something you’ve always wanted to do but maybe been to scared to do?

Something that I always wanted to do was going ziplining BUT im afraid of heights... which makes me stop doing this...

Once again... thanks for the ask @teleportzz

#ask game

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spanishskulduggery · 2 years

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Idiomatic Expressions you can use in pretty much every country

For non-native speakers, “Spanish” as a language is thought of almost as a monolith as if they shared every word and expression

For native speakers and people learning Spanish, you find out all too quickly that Spanish is a language that is full of regionalisms, sometimes varying from country to country, region to region, or even from city to city

So, for everyone’s sake I’ve decided I was going to put together a little list of some idiomatic expressions in Spanish that you can use in (probably? hopefully?) every country and be understood........ or at least i hope so

I mean I can’t 100% promise they’ll be understood in every country - but they should be pretty well understood universally; and some of them make sense just by context and the words being used

Without further ado, some of the most widely understood idiomatic expressions in Spanish:

llover a cántaros = “to rain cats and dogs”, to rain a lot [lit. “to rain by the pitcher/jug”]

agua pasada (no mueve molino) = “water under the bridge”, “let bygones be bygones” [lit. “passed water (doesn’t move the mill)”; sometimes people use the whole expression, sometimes people will say es agua pasada “it’s water under the bridge” to mean “it doesn’t matter now”]

menos mal (+ que) = “at least”, “thankfully”, “luckily”, “thank goodness”, “thank God” [lit. “less bad”; sometimes people say it by itself where menos mal comes out like “well at least there’s that” or “it could’ve been worse”... other times people will say it as part of a larger sentence with que like... menos mal que no ha llovido “at least it didn’t rain” or menos mal que tenemos más “good thing we have more”]

entre la espada y la pared = “between a rock and a hard place”, “there’s no easy choice” [lit. “between the sword and the wall”]

meter la pata = “to mess up”, “to screw up”, “to make a mistake” [lit. “to stick one’s foot (in it)”; kind of like “to step in it” similar to English]

tomar el pelo = “to pull someone’s leg”, “to tease”, “to joke with someone” [lit. “to pull/take someone’s hair”]

tocar las pelotas = “to annoy someone”, “to bust someone’s chops” or “to bust someone��s balls” [lit. “to touch/grab someone’s balls”; similar to above but more vulgar and more in the context of making someone angry or trying to “push someone’s buttons” and annoy them]

(ser) pan comido = “easy as cake/pie”, “easy peasy”, when something is easy to do or easily done, simple [lit. “(to be) eaten bread”]

ser (como) uña y carne = “to be thick as thieves”, to be very close / to be the best of friends, sometimes “inseparable” is the meaning [lit. “to be (like) a fingernail and flesh”; aka “very tight/close”... in some settings it might be uña y mugre “fingernail and grime”]

el príncipe azul = “prince charming”, “knight in shining armor” [lit. “blue prince”; I think the meaning here is derived from sangre azul or “blue blood”, the idea being they’re rich and nobility]

ahogarse en un vaso de agua = to blow something out of proportion, “to make a mountain out of a molehill” [lit. “to drown in a glass of water”]

de tal palo tal astilla = “chip off the old block”, “the apple doesn’t fall far from the tree”; often used in family settings or when someone “takes after” someone else [lit. “from such a stick, such a splinter”... same idea behind “chip off the old block” just with wood instead of stone]

salirse con la suya = “to get away with it”, “to have one’s own way” [lit. “to leave/get away with theirs”; the suya is relative to the person you’re talking about no se va a salir con la suya is “he/she isn’t going to get away with it”, and no te vas a salir con la tuya “you aren’t going to get away with it”; it can be other possessives depending on how you use the expression]

hablar del rey de Roma / hablando del rey de Roma = “speak of the devil” [lit. “to speak of the king of Rome”... it’s a shortened version of hablar del rey de Roma y por la puerta se asoma “speaking of the king of Rome and he comes in the door / leans in the doorway”; sort of like “speak of the devil (and he shall appear)”... this can also be understood as “we were just talking about you” in context]

mosquita muerta = “two-faced”, “a liar”, “manipulative” [lit. “dead little fly”; this is someone who seems innocent or pretends to be, but is actually THE WORST]

cuando el río suena agua lleva/trae = “where there’s smoke there’s fire” cuando el río suena piedras lleva/trae = “where there’s smoke there’s fire” [lit. “when the river makes noise it brings water” or “when the river makes noise it brings stones”... the version depends on the country, but the idea of the original is “if you hear a river running it’s because of the water”]

la media naranja = “soulmate” [lit. “half an orange”; there is the term el alma gemela which is literally “twin soul” but is like “kindred spirit” (el alma is technically feminine), but la media naranja is especially common for romantic settings; in some cases you’ll see it used as a pun where la media in some countries means “sock” so a media naranja would jokingly show up with an “orange sock” graphic and you see it like “oh I found my media naranja etc”]

tener (la) madera (de algo) = “to have the right stuff (for something)”, “to be made (for something)” [said of qualities people have, literally it’s “to have the wood for” meaning your base or core is correct for it... so you might see tiene madera de líder “he/she has leadership qualities” or looser as “they’re a natural born leader”]

cría cuervos (y te sacarán los ojos) = “if you lie down with dogs you get up with fleas” [this is literally “if you raise crows they’ll snatch your eyes”; it’s often said of children when children are brought up a certain way or treated a certain way, or when you enable bad behavior in others, that you shouldn’t be surprised by the result]

(pillar) con las manos en la masa = “(to catch) red-handed” [lit. “(to catch) with one’s hands in the dough”]

el/un pez gordo = “an important person”, “a higher up”, “a fatcat”, “a big cheese” [lit. “the fat fish”; essentially, top of the food chain]

de cabo a rabo = “from cover to cover”, “completely” [lit. “from head to tail”; you usually see this when someone is reading something or looking for something]

de par en par = “wide open” [lit. “from end to end” or “from pair to pair”; it’s used in the case of doors and windows usually, so you see it used with abrir “to open” or sometimes quedar (abierto/a) “to leave open”]

de pies a cabeza = “through and through”, “from head to toe” [lit. “from feet to head”]

a diestra y siniestra = “all over the place”, “left, right, and center” [lit. “to the right and left”; diestro/a is the older word for “right” though it can be “right-handed” today, and siniestro/a is the older word for “left” though it mostly means “sinister” today... the implication was that diestro/a “able” or “competent” referred to right-handed people, and those who were left-handed (zurdo/a today) were considered “sinister” and there was a stigma attached to left-handedness]

no tener pelos en la lengua = “to not mince words”, to be blunt, to be direct [lit. “to not have hairs on the tongue”]

sana sana culito/colita de rana, si no sanas hoy sanarás mañana [this one doesn’t have a good equivalent in English; it’s something often said to children when they’re sick or fall down and get hurt, it’s something like a fake magical spell to take away the pain; adults will jokingly say it to each other when they get sick or minorly hurt; literally it’s “heal, heal, tail/butt of frog [or tadpole tail], if you don’t heal today, you’ll heal tomorrow”...... for kids it’s like “kissing a booboo to make it better”]

mala leche = “bad mood” / “bad vibes” [lit. “bad milk”; this expression conjures up bad vibes in general... if someone is de mala leche it generally means they’re very unpleasant to be around and probably a bad person, though it can just mean that someone is temperamental; there are also times when people say de mala leche to mean something feels wrong or there’s bad vibes, and in family you can also use it sometimes to mean “bad blood”... it’s very hard to explain, but just know whenever mala leche comes up, it’s bad news and you need to be aware of it]

pinta bien / pinta mal = “to look good” or “to look bad” / “it’s a good sign” or “it’s a bad sign” [lit. “to paint/signal well” or “to paint/signal bad”; if something pinta mal it’s “it’s not looking good” or “that’s a bad sign”]

ser un detalle = “to be a kind gesture”, “(for something) to be thoughtful and appreciated” [lit. “to be a detail”; when someone does something nice for you, you can say es un detalle, gracias which is something like “that was very nice of you, thanks”]

ser un sol = “to be lovely”, “to be a delight”, “to be nice/kind” [lit. “to be a sun”; you can also say ser un sol de primavera “to be a spring sun” when someone is extra nice and lovely, so if someone does something for you that’s a detalle you can say eres un sol de primavera to acknowledge how nice they are]

estar en paz = “to be even” [lit. “to be at peace”; if you say estamos en paz “we’re even”, it means no one is indebted to the other one]

por la boca muere el pez = “watch what you say” [lit. “by the mouth dies the fish”; the imagery is that a fish gets a hook in its mouth by opening it, so if someone says this phrase they mean “keep your mouth shut” because saying more is dangerous]

más a gusto que un arbusto = “snug as a bug in a rug” [lit. “more to their pleasure than a shrub”, but it’s just for the rhyme, it means someone is cozy]

nunca llueve a gusto de todos = “you can’t please everyone” [lit. “it never rains to the pleasure of all”]

tirar la casa por la ventana = “to spare no expense”, “to go all out” [lit. “to throw the house out (through) the window”]

contra viento y marea = “come hell or high water”, “against all odds” [lit. “against wind and tide”]

la gota que colmó el vaso = “the straw that breaks the camel’s back”, “the last straw” [lit. “the drop that makes the glass overflow”; sometimes it conjugated in present tense like la gota que colma el vaso rather than past tense]

a fin de cuentas = “at the end of the day”, “when all’s said and done” [lit. “at the end of the accounting/count”]

dar en el blanco = “to get it right”, “to hit the bullseye” dar en el clavo = “to get it right”, “to hit the bullseye” dar en la diana = “to get it right”, “to hit the bullseye” [lit. “to strike the target/nail/bullseye” respectively; dar en el clavo is often translated as “to hit the nail on the head” and it is the most common one here in my experience]

al dedillo = “by heart” [lit. “by the little finger”]

de todo corazón = “from the bottom of (one’s) heart” [lit. “with all heart”]

el mundo es un pañuelo = “small world” [lit. “the world is a handkerchief”; this is usually when you see someone you know in a place you didn’t expect them to be, just like in English we say “(it’s a) small world”]

al pie de la letra = “to the letter”, exactly, (following something) meticulously or thoroughly [lit. “to the foot of the letter”]

soltar la sopa = “to spill the beans”, to give someone the story/details [lit. “to release the soup”]

un ojo de la cara = “an arm and a leg”, very expensive [lit. “an eye from the face”, usually used with valer “to be worth” or costar “to cost”, or cobrar “to charge”]

sobre gustos no hay nada escrito = “different strokes for different folks”, “no accounting for taste” para gustos hay colores = “different strokes for different folks”, “no accounting for taste” [lit. “on (the subject of) likes there’s nothing written”, and “for preferences there are colors”; it essentially means everyone likes different things]

valer la pena = to be worth the effort, “worth it” [lit. “to be worth the sorrow/pain”; often conjugated like vale la pena “it’s worth it” or no vale la pena “it’s not worth it”, but it works with any tense assuming you know how to conjugate valer]

#Spanish #language #languages #learning Spanish #langblr #learn Spanish #idiomatic expressions #expresiones idiomaticas #vocabulario #Spanish vocabulary

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xplainthexmen · 1 year

Text

In which we spend too long trying to place a time-travel miniseries in continuity, Al Kennedy does us a solid, Bernard Chang draws some excellent New Mutants young and old, Al Ewing x-plains X-Men: Red, Forearm and Random play Nintendo, and we reveal the winners of The Ninth Annual Super Doctor Astronaut Peter Corbeau Awards for Excellence at X-Cellence!

X-PLAINED:

Jay’s spatial and temporal whereabouts

Cannonball, Mirage, Magik, Sunspot, Wolfsbane, Karma, Magma, Cypher, Warlock, and Douglock

New Mutants: Truth or Death

Kitty Pryde and Illyana Rasputin, gal pals

Triple-dog dares

Nova Roma, or not

Mikhail F**king Rasputin

The arrogance of reality warpers

How to write Magma

The Technarchy and the Phalanx

Hardee’s X-Men: Time Gliders

Farmboy chic

Bernard Chang’s 21 Panels

Branching vs. overwriting timelines

The effects of de-aging and history rewriting on immunology

Found family

She Who Swam With The Acanti

Sleep-Eeze Mattresses Starring The Hulk

Arrako

Continuity synchronicity

S.W.O.R.D. as a workplace drama

The moral downfall of Abigail Brand

The leadership styles of Storm, Magneto, and Sunspot

Himbo disambiguation

The fates of Armor, Risque, and Peeper

Mysterium Clicker

Santa Claus

The Ninth Annual Super Doctor Astronaut Peter Corbeau Awards for Excellence at X-Cellence

(Note: Our interview with Al Ewing contains spoilers for X-Men: Red!)

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artnfinite · 6 months

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Today, 14 of November is: St. Lorcán Ua Tuathail / Lawrence O'Toole / Laurent d'Eu

Nascut a Irlanda el 1128, Lawrence era fill del cap del clan Murray. Quan tenia 10 anys, va ser pres com a ostatge pel rei de Leinster, Dermonf McMurrough, que dos anys més tard el va enviar a l'abadia de Glendalough. El nen es va enamorar de la vida monàstica, i s'hi va quedar amb el permís del seu pare.

Als 25 anys va ser elegit abat de Galedalough, càrrec que va ocupar fins al 1162. Home d'acció i de pregària, es va comprometre a reformar els costums de l'Abadia, i va prestar especial atenció a la caritat cap als orfes abandonats.

El 1179 participà en el Tercer Concili General del Laterà, a Roma, quan el papa Alexandre III el va nomenar bisbe de Dublín i cinc diòcesis més d'Irlanda, a més de nomenar-lo el seu representant a l'illa.

El rei Enric II d'Anglaterra, incòmode amb tanta autoritat ofert a Dom Lourenço pel Sant Pare, va prohibir al bisbe tornar a Irlanda. Després de moltes negociacions, el monarca va acabar cedint i permetent que Lourenço tornés a l'illa, però el bisbe, ja vell i malalt, va morir durant el viatge, el 14 de novembre de 1180.

Canonitzat per Honori III l'any 1225, sant Llorenç O'Toole pertany al grup de sants que van patir pels petits interessos dels representants del poder temporal que no honraven els seus càrrecs perquè temien poc Déu i s'estimaven més que ell.

Sant Lawrence O'Toole, pregueu per nosaltres!

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Born in Ireland in 1128, Lawrence was the son of the chief of the Clan Murray. When he was 10 years old, he was taken hostage by the King of Leinster, Dermonf McMurrough, who two years later sent him to Glendalough Abbey. The boy fell in love with the monastic life, and remained there with his father's permission.

At the age of 25 he was elected Abbot of Galedalough, a position he held until 1162. A man of action and prayer, he was committed to reforming the Abbey's customs, and paid special attention to charity towards abandoned orphans.

In 1179, he participated in the Third General Council of the Lateran, in Rome, when Pope Alexander III appointed him Bishop of Dublin and five other dioceses in Ireland, in addition to naming him his representative on the island.

King Henry II of England, uncomfortable with so much authority offered to Dom Lourenço by the Holy Father, banned the Bishop from returning to Ireland. After many negotiations, the monarch ended up giving in and allowing Lourenço to return to the island, but the Bishop, already elderly and ill, died during the trip, on November 14, 1180.

Canonized by Honorius III in 1225, Saint Lawrence O’Toole belongs to the group of Saints who suffered because of the petty interests of representatives of temporal power who did not honor their positions because they feared God little, and loved themselves more than Him.

Saint Lawrence O’Toole, pray for us!

#beauty #art #catholic #drawn #catholic art #drawnig #painting #architecture #fashion #catholicism #St. Lorcán Ua Tuathail #St. Laurence O'Toole

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spiderdreamer-blog · 7 months

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The Hunchback of Notre Dame (1996)

As observed in the last post, when the Disney Renaissance period "ends" isn't always entirely clear. Even after the high water mark of The Lion King, the animated films were still making money (esp. on the merchandising end) and getting good reviews, just somewhat less effusive ones depending on the film. Perhaps no film during this period was regarded with more curiosity and suspicion than their attempt at adapting Victor Hugo's classic French novel The Hunchback of Notre Dame (though if you want to get technical, that's the title of most adaptations, whereas the original French title is Notre Dame de Paris). The story of Quasimodo is often a dark one, after all, full of themes like religious hypocrisy and discrimination against minorities. Could Disney handle that, critics seemed to ask, or should they even TRY? Well, they ultimately did, and we have the film in front of us to judge. Let's dig in.

(Quick note: the film uses the outdated g-slur to refer to Roma characters throughout. I will not be doing so for sensitivity purposes.)

We open in 15th century Paris, as Clopin (Paul Kandel), leader of the city's Roma begins to narrate a story, "a tale of a man...and a monster." Twenty years ago, Judge Claude Frollo (Tony Jay) murdered a Roma woman when pursuing her for a presumed theft. The cargo turns out to be her son, who Frollo classifies as a monster for his hunchbacked deformities, and he nearly murders him to boot. But the Archdeacon of Notre Dame (David Ogden Stiers) stops him, warning that the "eyes" of Notre Dame, and possibly God Himself, will witness this crime. A shaken Frollo agrees to raise Quasimodo (Tom Hulce), but shuts him away in the bell tower. As the present day opens, Quasimodo yearns to join the outside world, with his gargoyle friends Hugo (Jason Alexander), Victor (Charles Kimbrough), and Laverne (Mary Wickes, in her final film role) as his only companions. But Frollo insists they would never accept him, and Quasimodo nearly seems ready to accept that lonely lot in life, so much has he internalized this abuse. His friends, however, encourage him to sneak out to the yearly Feast of Fools, just for one day. He works up the courage to do so, only to encounter the beautiful Roma Esmeralda (Demi Moore) and be crowned the King of Fools. After the crowd turns on him, Esmeralda comes to his rescue, only to be pursued by Frollo and the goodhearted captain Phoebus (Kevin Kline), who convinces her to take sanctuary in the church. Things quickly become a waiting game as Quasimodo and Esmeralda begin to bond over sharing an outsider status, and he begins to consider a potential life "out there", as Frollo's anger begins to twist into hatred...and lust.

The first thing that has to be said about Hunchback is that it's one of the best-looking films the studio ever made. Like Tarzan after it, CGI techniques were heavily used to give Notre Dame a real sense of place and atmosphere previously though unachievable. You truly FEEL the vastness of the cathedral and Paris, occasionally feeling just a bit of awe in the process, but thankfully directors Gary Trousdale and Kirk Wise (Beauty and the Beast, Atlantis: The Lost Empire) never let them overwhelm the characters and their emotions. Some of this hasn't aged gracefully (the CGI crowds are definitely a little ropey when you look close), but the overall effect remains outstanding.

So too does the character animation, which is remarkable in its complexity. Quasimodo alone would be a challenge for most animators, but James Baxter is not most animators, and he gives the hunchback a genuine soulfulness in addition to making that seemingly impossible body move with pencils. Kathy Zielinski, meanwhile, takes what could have felt like a caricature in Frollo and makes him into a real, terrifying person. You feel his pain...and gape in horror at his cruelty. Tony Fucile's Esmeralda is vivacious and vibrant, Russ Edmonds makes Phoebus a little rougher than most handsome Disney leading men even with his good heart, and Mike Surrey grants Clopin an intriguing ambiguity; right up until the end, you're never totally sure what he's after.

The story is just as good as the visuals. I will admit upfront that it probably bites off more than it can chew. There is a LOT to cover here in terms of the intersections of racism, religious hypocrisy, and othering of people deemed "monsters" because of their disabilities. Especially since smarter people than me have pointed out this was NOT wholly Victor Hugo's original intent, but that the story transformed into a parable about discrimination thanks to Hollywood and other adaptations. It's possible that anyone could balk at it, much less the largely-compositionally-white Disney animation studio of the 1990s. Yet it has to be said that a genuine, earnest effort is made here even with some fumbles (which we'll get to later).

A useful comparison point is the previous year's Pocahontas. I can genuinely say I kind of hate that film outside of a few caveats, and one big reason why is that the characters feel so flat in their assigned roles. Nobody surprises or does anything unexpected, there's no nuance in the colors of the wind there, and even the characters you think could have affecting arcs are unbearably stiff. Not so here. Quasimodo is an excellent lead, for starters; even if he's gentler and less outright antisocial than other adaptations or the source material, he's allowed to be flawed in terms of parroting assumptions about Roma planted in him by Frollo and initially feeling entitled to Esmeralda's love because she was kind to him. He rises to heroism instead of having it be assumed. Frollo, too, is more complex than most Disney villains. Not sympathetic, precisely, but you get the sense that he really is just a miserable person at the end of the day, directing that misery outward as the contradictions between his religious piety, his racism, and his lust tear him up inside. Esmeralda is a little sexualized, it's true, and perhaps a little more noble than she might truly be in the situation, but she's a passionate, driven adult with a sense of humor. Which feels rare even now in animated kid's movies. The triangle that develops between her, Quasimodo, and Phoebus is intriguing because we can see it going either way, rather than having Phoebus be an obvious bad egg. I like his arc, too, as the Roma gain a human face and he grows increasingly uncomfortable with his complicity.

The voice cast helps with this considerably, giving stellar performances across the board. Helping is that they have one of the best soundtracks in the Disney canon backing them up, with Alan Menken and Stephen Schwartz giving us banger after banger. "The Bells of Notre Dame" stands out especially for getting across a ton of story and character notes as elegantly as the likes of "Belle", "Circle of Life", and "The Family Madrigal." (Credit to Kandel, too, for hitting that insane high D note at the end of both it and the final reprise) Plus, I'm always a sucker for Badass Ominous Latin Chanting, and that's all over this score. We also get TWO "I Want" songs for the price of one, with "Out There" and "God Help The Outcasts" being excellent mission statements for Quasimodo and Esmeralda. "Hellfire" is the most chilling Villain Song in the entire canon, taking us down a road of darkness and flame. And "Topsy Turvy" feels underrated as a comedy song, feeling almost like something you could hear in another Hugo-derived musical, Les Miserables, in the clever rhyming and archaic word usage. (I'm also partial to "The Court of Miracles", which is short, but has a nicely sinister bounce)

In terms OF the actors, Tom Hulce is honestly an interesting choice for Quasimodo given that his best-known performance otherwise is as Mozart in Amadeus. A great film, and great acting, but Mozart is a markedly different character in that he is cheerfully obnoxious even whilst remaining in our sympathies. Here, Hulce finds a wistful quality in his tones, childlike without ever being childish, which is a hard balance to strike. And he knocks "Out There" out of the park, as it were. Tony Jay, meanwhile, gives the performance of his lifetime as Frollo, mining every scrap of loathsome humanity he can without ever losing the reality of the man. His rendition of "Hellfire" always leaves me awestruck. Moore has a distinct, smoky tone that aids Esmeralda spectacularly even if we can question the ethics of casting a white woman as a dark-skinned Roma in retrospect, and Kline matches her well in terms of being funny and down-to-Earth, making us believe in Phoebus' turn.

(Also, I'd be remiss if I didn't mention Stiers' cameo at least a little bit. He was a good luck charm for Disney in this period, and he gives the Archdeacon genuine warmth to contrast Frollo's bigotry, a necessary one given how brutal that becomes)

Now there are some fumbles, even if they don't blemish the film overmuch for me. The first is the depiction of the Roma, which can run a little inconsistently. It's laudable that the movie is sympathetic to their plight and doesn't make any mealy-mouthed both-sides statements about it the way Pocahontas tries to run with an ill-defined "hatred" as the Aesop. Frollo is just straight-up racist and that's how we're doing this. But they also get played as comic relief and we don't get much internal dialogue on them outside of Esmeralda and Clopin (though as said, I appreciate that he has purposeful ambiguity in seeming like a gleeful jester one moment, then a tough street boss the next).

The second is the gargoyles, who you may have noticed haven't been mentioned much up to now. That's because I'm of two minds about them. On the one hand, I don't think they're bad characters. The animation on them is as good as the rest of the film, and you could tell the animators had fun figuring out how to move stone figures around. Alexander, Kimbrough, and Wickes all give excellent comedic performances, and especially in the early part of the film, they serve a useful function as keeping the mood light and confidants for Quasimodo. There are much worse Disney sidekicks purely on the merits (fuck you, Gurgi, go to hell). Nor do I object to comic relief on its face. I adore comedy-as-characterization, and Disney sidekicks can often be a useful counterbalance.

What I dispute is the usage here. To me, there's an obvious arc of Quasimodo shedding his comfort levels as he grows up and decides to engage in the outside world. But the gargoyles...keep showing up past a point where it feels necessary. You get the sense the filmmakers were nervous about just HOW dark and adult the rest of the film was, and were hedging their bets. This is best exemplified in their song "A Guy Like You." On its face, it's a funny, catchy number that the actors sing the hell out of. And the dramatic purpose (building Quasimodo's confidence about his romance before learning that Esmeralda has fallen for Phoebus) is solid. But it's just...too much. These guys aren't the Genie or Timon and Pumbaa, and they shouldn't be. Also between them and Esmeralda's pet goat Dhjali, who's also Fine mechanically, and Clopin already being funny in cleverer ways, it begins to feel a smidge crowded.

One quibble I DON'T have is with the ending. This remains the most criticized part of the film, given that the book ends tragically with Frollo, Quasimodo, and Esmeralda all dead, and some variation on this tends to stick for a lot of adaptations (in fact, both Disney's later German and English-language stage adaptations hewed closer to the novel, if not exactly in terms of circumstances). By contrast, here we get an uplifting ending where not only is Frollo the only casualty (and with a bitchin' variation on the Disney Villain Death to boot), Quasimodo is accepted by the citizens of Paris. Unrealistic? Maybe. Does my heart melt every time that little girl comes up to feel Quasimodo's face? Absolutely. Look, I'm not someone who thinks we need to treat minorities/disadvantaged people like glass dolls in narratives. We can have bad things happen to them without it being Le Problematique. But given the history, is it really so terrible to give a hunchback a happy ending on occasion? I think not, and for this version of the story, they absolutely arrive at the correct decision.

The mood around the film was slightly more muted upon its release. It made money, the critical reception was generally positive-even in France!-and some critics like Roger Ebert gave it effusive reviews. But it was usually agreed that Disney had done its usual thing of simplifying a popular narrative for mass consumption the way they did for fairy tales and such. Hard to totally argue against that point, but I would posit that, as said, the story had already mutated into a very different form thanks to various other adaptations. You'd hardly think Les Miserables would be a good crowd-pleasing musical either at first glance. Even if it totally doesn't stick the landing, this remains one of my favorite Disney films because it TRIED, damn it. It's imperfect, but beautiful.

Could say that about our hunchback, couldn't we?

#disney #the hunchback of notre dame #disney animated canon #media analysis #reviews

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opera-ghosts · 8 months

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The exquisite French tenor Lucien Muratore (1878-1954).

Lucien Muratore (1876-1954) was a French dramatic tenor whose impressive career spanned some three decades. Born in Marseille, Muratore began studies there as a saxophone and oboe player before switching his focus to voice several months later. Initially pursuing a career as a dramatic actor, the young performer made his debut at the Variétés in Paris at the age of 20. Muratore spent several seasons there, as well as at the Casino in Monte Carlo and the Odéon Theatre in Paris, playing juvenile leads. During this period, he enrolled at the Paris Conservatory, where he continued his vocal studies. Muratore’s operatic debut took place at the Opéra-Comique on December 16, 1902 when he created the role of King Louis XIV in the world premiere of Renaldo Hahn’s La Carmélite. Although Hahn’s new opera was a failure, Muratore’s memorable performance helped launch him to an international career. In 1904, Muratore made his first appearance outside of his homeland, when he sang Werther at La Monnaie in Brussels. During the next decade, the tenor spent most of his time in the major theaters of the French speaking world, building his reputation as an artist of the first rank. Not only was Muratore quite skilled in his interpretations of the leads in such standard repertoire as Faust, Roméo et Juliette, Manon, Carmen, Mignon, Pagliacci, Cavalleria Rusticana and Die Meistersinger, he also sang numerous world premieres of such works as Février’s Monna Vanna, Fauré’s Pénélope, Saint-Saëns’ Déjanire and Massenet’s operas Bacchus, Roma and Ariane. In 1913, Muratore came to the U.S. for much heralded appearances in Boston, Chicago and New York. A North American tour followed, the vehicle for which was Bizet’s Carmen. Performances in Fort Worth, Milwaukee, Omaha, Kansas City, St. Louis, Tulsa and other major cities kept the tenor quite busy, but it was Chicago that would remain his artistic home from 1913 to 1922. 1919 saw the tenor in South America for performances with the Teatro Solis in Montevideo and the Teatro Colón in Buenos Aires. A series of concert appearances with his wife, soprano Lina Cavalieri, were also well received. However, the strain of professional life took its toll and Muratore and Cavalieri separated in 1919. By the early 1920s, Muratore was back in Paris where he remained until his retirement from the stage in 1932. The tenor also made his mark on the big screen, with a starring role in 1931’s “Le Chanteur Inconnu”. Interestingly, Muratore had made previous film appearances during the silent era, including the role of des Grieux in 1914’s Manon Lescaut (opposite Cavalieri in the title role). Although he continued to appear in films well into the 1930s, Muratore primarily focused on teaching. He was briefly the director of the Opéra-Comique in 1944 but was relieved of his duties following the liberation of Paris. Muratore passed away in Paris on July 16, 1954, a few weeks shy of his 78th birthday. Lucien Muratore was the possessor of a sturdy spinto-dramatic tenor instrument which he used to great effect in over 30 diverse roles. He was also one of the finest operatic actors of his generation. His recordings, made for G&T, Odeon, Pathé, Zonophone, Edison, A.G.P.A. and other labels, show a singing actor who used his voice to great effect.

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