Slides From An Alice In Wonderland Viewmaster Series

Evenings on a Farm near Dikanka is a 1961 fairy tale fantasy Soviet film directed by Alexander Rou. It is based on Nikolai Gogol’s collection of short stories of the same name (specifically based on the short story The Night Before Christmas). In a small Ukrainian village, a young blacksmith, Vakula, is in love with the village beauty, Oksana. Oksana is a capricious girl who states that she will only marry Vakula if he brings her the slippers that Empress Catherine the Great wears. At the same the Devil aims to get back at Vakula for painting an embarassing picture of him. The Devil steals the moon, in the hopes of creating chaos and visiting Vakula’s witch mother. Vakula, however, tricks the Devil into taking him to Saint-Petersburg. [watch]

Cultural Dark Academia

After my last post about the lack of representation in academia, I felt it neccessary to provide some examples of what I’m talking about. Obviously there are more countries in the world than I can list and provide books for, so for a quick list this is what I got. !! Keep researching !! If you have any more books by POC please reply them !! If a country isn’t listed, that doesn’t mean it’s not important, this is just what I could get together real quick. If I made any mistakes, please let me know, we’re all learning. We need to help each other end eurocentrism in academia, so value representation and educate yourselves 💓💓💓

Chinese:

The Art of War by Sun Tzu

The Dream of the Red Chamber

The Water Margin

Romance of the Three Kingdoms

The Journey to the West

The Scholars

The Peony Pavilion

Border Town by Congwen Shen

Half of Man is Woman by Zhang Xianliang

To Live by Yu Hua

Ten Years of Madness by agent Jicai

The Field of Life and Death & Tales of Hulan River by Xiao Hong

Japanese:

A Personal Matter by Kenzaburo Oë

Pakistani:

Moth Smoke by Mohsin Hamid

How to Get Filthy Rich in Rising Asia by Mohsin Hamid

Ghulam Bagh by Mirza Athar Baig

Masterpieces of Urdu Nazm by K. C. Kanda

Irani/Persian:

Rooftops of Tehran by Mahbod Seraji

Savushun by Simin Daneshvar

Anything by Rumi

The Book of Kings by Ferdowsi

The Rubiyat by Omar Khayyam

Shahnameh (translation by Dick Davis)

Afghan:

Earth and Ashes by Atiq Rahimi

A Thousand Splendid Suns by Khaled Hosseini

Indian:

The God of Small Things by Arundhati Roy

Aithihyamala, Garland of Legends by Kottarathil Sankunni

The Gameworld Trilogy by Samir Basu

Filipino:

Twice Blessed by Ninotchka Rosca

The Last Time I Saw Mother by Arlene J. Chai

Brazilian:

Night at the Tavern by Álvares de Azevedo

The Seven by André Vianco

Don Casmurro by Machado de Assis

Colombian:

Chronicle of a Death Foretold by Gabriel Garcia Marquez

Delirio by Laura Restrepo

¡Que viva la música! by Andrés Caicedo

The Sound of Things Falling by Jim Gabriel Vásquez

Mexican:

Bless Me, Ultima by Rudolf Anaya

Adonis Garcia/El Vampiro de la Colonia Roma by Luis Zapata

El Complot Mongol by Rafael Bernal

Egyptian:

The Cairo Trilogy by Nahuib Mahfouz

The Book of the Dead

Nigerian:

Rosewater by Tade Thompson

Things Fall Apart by Chinua Achebe

Malian:

The Epic of Sundiata

Senegalese:

Poetry of Senghor

Native American:

The Inconvenient Indian by Thomas King

Starlight by Richard Wagamese

Almanac of the Dead by L. Silko

Fools Crow by James Welch

Australian Aborigine:

Dark Emu by Bruce Pascoe

First Footprints by Scott Cane

My Place by Sally Morgan

American//Modern:

Real Life by Brandon Taylor

Namesake by Jhumpa Lahiri

The Hate U Give by Angie Thomas

The Poet X by Elizabeth Acevedo

Internment by Samir’s Ahmed

Their Eyes Were Watching God by Zora Neale Hurtson

Rivers of London Series by Ben Aaronovitch

Illustrations by John R. Neill for DOROTHY AND THE WIZARD IN OZ (1908).

Strategy List (Part I)

For those that have zero knowledge of strategy, this is where I recommend starting.

Continua a leggere

Four sides of witchcraft. Countdown to Halloween.

great tv recommendations: stag  ↳ "What happens over the next 72 hours will change us as men. We will be defined by our time in these hills, on these heaths. And when we get home, we will say - to people that we trust and without giving away too many details - that we saw off our friend in style. That this was the stag to end all stags!“

James: “Thanks for coming, Miles”

Miles: “Twat”

It’s all Hallows Eve the moon is full  

                                              will she trick or treat  I bet she will

Listen, I might be playing the devils advocate, but I don't think Dany's fate in the GoT finale was due to D&D being sexist.I think it was just because D&D can't write for crap.

It’s not about intent.

Allow me to begin by saying that I completely understand the knee-jerk reaction that people have to the term ‘sexism’. It’s very polarizing, and when men read the term, they immediately go on the offensive. That’s not what I want at all. I don’t use the term to alienate or exclude men, I use it because it’s the dictionary definition of what I’m trying to convey:

sex·ism (noun): "prejudice, stereotyping, or discrimination, typically against women, on the basis of sex.“

That said, allow me to play devil’s advocate here and say that I do not believe the writers intended to have an underlying sexist message. They are more oblivious than they are malicious. It is born of sheer ignorance (lack of knowledge or information) and the privilege to ignore it because, as males, it doesn’t affect them.

Let’s put aside the dozens of articles that came out after the finale calling out the sexism. You guys know me, I like to pull receipts, cite my sources, and throw in some visuals to help aid my point.

For most of the 70+ hours of Game of Thrones, Daenerys actually does not fall victim to these sexist tropes. Honestly, that is what subverted my expectations for seven seasons. That Dany always teetered on the edge of these tired, overused tropes about women, yet she remained steadfast in her ruthless yet good nature, her moral compass was always aligned even if it didn’t match the viewers, and she was a gods-damned hero, straight through to episode four of season eight.

But the demoralizing reality is that Daenerys was hit with trope after trope in the last three episodes. In the final hours of the show, the writers pulled a bait-and-switch, giving us a ‘shocking’ heel-tern whose only foreshadowing was a very bad retcon job full of double standards. And so many fans, such as yourself, justify it. Not because the show foreshadowed it, but because these tropes are so, so ingrained in our brains from decades of media feeding us these narratives that we now expect them.

In the end, Daenerys succumbs to numerous sexist tropes:

‘God Save Us From the Queen’ trope

“The Good Kingdom: A lovely, wealthy country ruled by a benevolent king, a wise prince, and a fair princess loved by the populace. But what’s that? There’s a queen? Oh, brother, we’re in trouble.”

Disposable Woman trope

“This character has a familial or romantic relationship with a protagonist, which allows creators to derive heart-wrenching sorrow from her death.”

Evil Infertile Woman trope

“Women are often divided into “breeders” and “the barren,” with the latter coming off as cool and distant at best, and malicious and desperate at worst.“

The Double-Standard Trope

“A double standard occurs when members of two or more groups are treated differently regarding the same thing. Gender is one of the most common causes of double standards.”

Hysterical Woman trope

“This trope characterizes women as less rational, disciplined, and emotionally stable than men, and thus more prone to mood swings, irrational overreactions, and mental illness.”

Woman Scorned trope

“What’s the only type of woman more dangerous than a Mama Bear? A woman who’s been dumped or otherwise done wrong by her significant other. Especially if she’s been hiding some sanity problems.”

Women Are Delicate trope

“Even if women have toughness, competence, strength or stability, it’s less than what their male peers are capable of.”

The Woman Wearing the Queenly Mask trope

“They don’t want a young woman, or they don’t want any woman, or they just don’t want this particular woman on the throne.”

Tropes in and of themselves are not bad, but very outdated tropes that are associated with the emotional or mental ‘fragility’ of women are. Why? Because they reinforce deep-seated and subconscious stereotypes of women that audiences hold.

“It’s just a show/book! Who cares!”

People have been turning to art (including literature) for years for meaning, for philosophical guidance. Most people in my own country turn to one book to both find and justify their morality (the bible).

“Literature offers not just a window into the culture of diverse regions, but also the society, the politics; it’s the only place where we can keep track of ideas.”―Reza Aslan

It’s not just a show. The art and media we consume helps shape who we are, for better or worse. When men refuse to consider the consequence of their sexist narratives simply because it doesn’t affect their own lives, it inadvertently causes harm for others who don’t share their privilege.

And it’s not just Daenerys. She’s just the figurehead.

There was a great article from BBC about how much women actually speak on Game of Thrones:

I can already hear the counter-argument brewing…

“So what? There are more male characters!”

Yeah. There are. And that’s a problem, too.

Of the top-grossing 1,200 films from 2007 to 2018, 28% of films were led or co-led by women. Meanwhile, around 49.6 percent of the world’s population is female.

By featuring so few women and by giving women who are featured 20% of the airtime to speak their minds, the writers are unintentionally devaluing the speech and opinions of women. This inspires the audience to devalue women in a subconscious way.

Whether or not it intended to, Game of Thrones and its shocking ‘heel-turn’ has very troubling sexist and political implications (amongst other things).

Go ahead, tell me I’m wrong. Tell me I’m blowing this way out of proportion.

Tell me it’s just a show or a book and every single fan knows how to separate fiction from reality (they don’t, go look at Maisie William’s Instagram comments following her season eight sex scene for proof of that). Meanwhile, here in actual reality, we see things like this:

@thescarletgarden1990 informs me that over in Italy, political figures are using Game of Thrones advertising in their campaigns, too:

Translation: “Invaded by masses of Others? Not Today. Immediate naval block, let’s defend our borders.”

What makes it worse is that, at least Donald Trump, identifies with House Stark. Or, those who rule the northerners. The people who showed their blatant racism toward the only two black named characters. And the writers never bothered to critique the problematic behavior, instead, rewarding their people with independence and driving those pesky evil foreigners ’back where they belong’.

I’ve barely had time to scroll my dash and I’ve already seen a troubling amount of harassment towards Dany fans via anon asks (including myself, though I just block the IP and delete but I wish I’d saved them for proof).

Why? Because the ending justifies their personal narrative, this bad writing confirms their worldview. Meanwhile, on the other side of the spectrum, the same thing is happening in reverse in response to the takedown of a figure like Daenerys Targaryen:

“Khaleesi’s heel turn is particularly troubling for fans who might have felt a true sense of connection to her character following her epic story arc, which has seen Dany escape some awful circumstances to literally walk through fire, free the slaves, bring Dragons to the north and help rally the troops to defeat the Night King. She has basically been Abraham Lincoln, Hercules and Winston Churchill combined into one person riding a dragon.” (x)

The point here is that the show is doing its audience of 19,300,000 viewers a great disservice by succumbing to very outdated tropes and double standards, and sending troubling messages as a result. For instance, a woman can do countless heroic or selfless things, but you should never trust her! She needs to be tempered. Women cannot wield power responsibly. There are endless messages you can take away from this ending and the dialogue that led us to the show’s conclusion (my personal favorite being ‘Cocks are important’).

And the fans who want to say 'you’re overreacting’ to everyone who speaks up against it are only aiding in this ongoing legacy of 85% male writers who get to tell our stories, poorly, and reap all the rewards.

Sure, all of this could be solely the result of ‘just bad writing’…

Nevertheless, it is what it is.

What are your favourite pieces of classical music?

 I don’t have the slightest musical education so my apologies for the possible abuse of the term “classical” but lately I’ve grown a special affection for the following pieces:

Bach-Capriccio on the departure of a beloved brother- (the way it starts as a grave farewell and then becomes light reminds me of Catullus 65) Cello Suite No.1 and Concertos for Oboe

Corelli- La Follia (or Vivaldi’s version, if I’m feeling extra extra)

Monteverdi- Zefiro Torna, Lamento della Ninfa and many of his madrigals

Jean Baptiste Lully- Armide

Franz Schubert- Serenade, Fantasy in F Minor

Frédéric Chopin- Nocturne, Funeral March, La Polonaise (reminds me of dziady!)

 Felix Mendelssohn- Midsummer Night’s Dream

 Pyotr Ilyich Tchaikovsky- Rococo Variation, Pas de deux from the Nutcracker

I’m in love with the Impressionists: Ravel’s Le Tombeau de Couperin was the first work to make me interested in classical music, and I also love Jeux d’eau, Daphnis et Chloe, Introduction and Allegro, String Quartet- Assez Vif

Claude Debussy: Suite Bergamasque

Erik Satie:  Gymnopédies and Gnossiennes (for cloudy Sunday mornings)