Cub & Kitten Kingdom

Are you coming with me or not?.

[poetical-camaraderie]

ON VIOLENCE

(A found poem inspired by Vijay Prashad and Frantz Fanon)

A civilization

that tolerates high

levels of

hunger

among its people

is a violent

civilization.

A civilization

that tolerates high

levels of

unemployment

among its people

is a violent

civilization.

A civilization

that needs a police

force to stop

hungry people

from getting food

is a violent

civilization.

The violence comes

prior to looting.

Colonialism

was looting.

Capitalism

is looting.

How is it possible

that rich countries

have such high

levels of

hunger

when there is food

all around?

If you don’t have money,

you can’t have food.

That is an act of violence.

It is a violence

against humanity.

[poetsonthebus]

Anyone else haunted by the conflict that comes from living a life?

Midnight in Paris (Woody Allen) / Keaton Henson / Oscar Wilde (?) / Sweet and bitter magic (Tooley) / Albert Camus / Dead poets society ( Peter Weir) / Lost in Translation (Sofia Coppola) / The Catcher in the Rye (Salinger) / Bukowski / Mahmoud Darwish / Maggie Stiefvater / The Secret History (Tartt) / Sylvia Plath/ Inside (Bo Burnham) / Midnight in Paris / Doc Luben / V.E. Schwab / 500 days of Summer (Marc Webb) / Nora Sakavic / Nora Sakavic / V.E. Schwab / Holly Black / Nora Sakavic / Maggie Stiefvater / Kafka / I was born for this (Alice Oseman) / V.E. Schwab / The starless sea (Erin Morgenstern ) / The starless sea / The starless sea / Dead poets society / Steve McCurry

(thanks to everyone who edited everything, I'm sorry I can't find you and credit your work to you)

[magnusedom]

MY OWN PRIVATE IDAHO (1991) dir. Gus Van Sant

The centerpiece of River’s performance, and the film, is a campfire scene with Reeves. Scott Favor takes Mike Waters on a road trip (on a stolen motorcycle) to visit Mike’s brother. At night, sitting by a fire they’ve made, they discuss their respective childhoods: “If I had a normal family and a good upbringing, then I would have been a well-adjusted person,” Mike insists. What’s really on his mind: he’s in love with Scott, and he’s terrified of saying so.

 “I only have sex with a guy for money,” a reclining Scott tells him. “Two guys can’t love each other.”

 A miserable Mike says haltingly, “I could love someone even if I, you know, wasn’t paid for it. And I love you, and you don’t pay me.” Curling up in a ball, he tells Scott, “I really want to kiss you, man.” The scene ends with Scott gently holding Mike, stroking his hair.

“This is the best part in the film,” Van Sant said, “and was chosen by River to be his big scene.” At River’s request, Van Sant scheduled it for the last day of shooting. River rewrote it himself, making it more lyrical and making his love for Scott explicit (in Van Sant’s original script, the relationship was more ambiguous).

 “‘I love you, and you don’t have to pay me’—I’m so glad I wrote that line,” River said. “I think that in his private life, Mike was probably a virgin, so he only relates sex with work.” River had spent some time thinking about situational virginity, and the emotional consequences of having sex when you didn’t want to have it.

— Last Night at the Viper Room: River Phoenix and the Hollywood he left behind by Gavin Edwards

[ghstbrd]

[Alexis Pauline Gumbs, Revolutionary Mothering]

[ghstbrd]

We Do This 'Til We Free Us, Mariame Kaba

[nightshade125]

I Will Not Sit While They Fall

I write this, not for me

But for those who need to listen

And those who need to be heard.

I write this in a language I am comfortable using

Not because I can’t write otherwise

But because I’ll use this privilege I have

To get their message out there.

I may not be like them, in culture and in belief

I may not understand their songs and traditions

But if I understand one thing, it’s this:

We are of one blood

We can’t misunderstand them.

This is a call out post, to those who don’t care

Who don’t try to understand and instead avert their eyes

Who cover their ears when they scream for help

Who lock their doors when they come knocking.

We can’t let this stand, let this continue

For as long as we are blind, society will stumble

We are as good as are weakest link

We are as great as the least in our land.

I was taught to speak and use my words

Not hold my tongue even if I’ll get burnt

To not fear the consequences

But to fear an unchallenged evil

To fear an unchanged status quo.

You say I have no right to speak

I never suffered like them

I should enjoy my privilege while I can

But I have no right to stay silent

Not when they still suffer

Not when their pushed to the ground.

They’ve seen what I can never stomach

As young as me, yet their eyes are older

Opened to a reality that was colder

Freezing in hatred, wanting to feel warmth

Other than when blood runs down their body.

This is a callout to the government

To the tyrants who do not lead us to light

But rules us in the dark.

You tried to silence them, gouge out their eyes to keep them blind

But not even the blind are safe from gunshots and pain.

You tried to silence them, but you never will

Even if you blind them, we’ll be their guides

Raise up their hands in unity

If you want to hurt them, you’ll have to hurt us.

I’m not afraid of the consequences

They aren’t, so why should I be?

Call me subversive, brainwashed

But know this thing:

Your power lies in us

Those who will outlive you

The cause that will outlast you.

You shoot us down, damn us to hell

And we’ll drag you down by the chains that you placed on us

Rejoice in your screams as you did ours.

I am still young, but I’ll be damned if I play dumb

If I pretend that all is good and fine.

I will not stand up for the flag of a murderer

Not clap for a speech of curses and empty promises

And I sure as hell won’t kneel down before a throne

Of blood-stained gold.

I stand with those who continue to fight back

Because even if you shoot them down

We’ll be there to hold them up

We’ll remain standing even as you fall.

[fatalefilipina]

FREE FILMS ABOUT MARTIAL LAW THAT CAN BE STREAMED ONLINE:

Imelda (2003) - Dir. Ramona S. Diaz

Batas Militar (1997) - Dir. Jeannette Ifurung

Batas Militar 1997. Color/109 minutes; with English Subtitles. A Production of the Eggie Apostol Foundation

BATAS MILITAR (1997). A Documentary on Martial Law in the Philippines. Color/109 minutes. A Prouduction of the © Eggie Apostol Foundation.

Eskapo (1995) - Dir. Chito S. Roño

Dekada ‘70 - Dir. Chito S. Roño

Signos (1983) - Dir. Mike De Leon

Marcos: A Malignant Spirit (1986) - Dir. Rolly Reyes

Marcos: A Malignant Spirit (1986) : ABS-CBN : Free Download, Borrow, and Streaming : Internet Archive

Marcos: A Malignant Spirit (1986)

Bakit Dilaw ang Gitna ng Bahaghari? (1994) - Dir. Kidlat Tahimik

Coup d’etat: The Philippines Revolt (1986) - Dir. Geoff Satchell

Betamax ‘83 - a film by Marcial Bonifacio

(starts at the 7:30 mark)

Betamax '83 directed by Marcial Bonifacio

Join us as we walk through to the history of media censorship during the declaration of Martial Law in the Philippines. Synopsis: "In 1983,

[isabelofwraithmarsh]

Toho Musical Stars: Sayaka Kanda (神田 沙也加)

Bonus: 

[languagestudymaterials]

The most common problems my students experience while studying a language (English in Poland)  

1. They can’t ask simple questions.

Why? Because in schools/classes teachers usually ask students. The class changes into an interrogation, so to say. I hear a lot, “Well, I didn’t know how to ask about….” They all know “how to SAY” but not really “how to ASK.” They rarely use negative statements as well.

2. They can’t say, “I know nothing about it, so I can’t really answer.”

Why? Because students are usually required to come up with some ideas. No matter how bullshit they might be, it’s always better to say something. Nothing could be further from the truth. If you don’t know anything about the topic then just say so. In real life, you will often find yourself in such situations, so it’s better to just be honest and avoid talking shit. 

3. They forget that a successful conversation takes two. 

They often want to practice conversation, but they just wait to be asked. They never return questions and aren’t “interested” in the teacher and their life. In Poland, the teacher-student relationship is very formal, and students are not supposed to ask teachers about their lives. They do forget, though, that using a foreign language somehow transfers them to a different cultural realm.

Keep reading

[hooned]

Here is my answer.

[crybunny-deactivated20220627]

GRIEF: THE INCONVENIENT TRANSLATOR from Autopsy by Donte Collins

[goddidntdothis]

A fool looks at Death and says “I can fix this.”

[pekorosu]

re: the 20-page interview with fujimoto yukari and yoshida akimi

it covers a wide range of topics including her other works which i’m not familiar with and a bit of her personal life, so I’ll only jot down some bf related parts. note that this isn’t a proper translation… consider it a rough one with lots of paraphrasing, interspersed with my own thoughts.

Keep reading

[stainofred]

Banana Fish Google Drive

The Banana Fish Google Drive is finally here!

This folder includes:

- All 24 episodes

- All 24 TV episode previews

- Both openings

- Both endings

I made this for anyone without Amazon Prime/anyone would rather not use kissanime.

It can also be a good and easy way to get clips for edits!

Reblogs are appreciated this genuinely took around 8 hours and I want fellow Banana Fish fans to be aware of this! 

https://drive.google.com/open?id=1ScXL3CLB6AGedjvcRw5C8V05zm-LlBXD

[codenamed-bananafish]

Translation of Max Lobo's Notes (1998)

This is an extra published in 1998, that contains Max's memoirs of Ash and the future lives of all characters of Banana Fish.

(Translations credit to @enta_jinnai and @nakimooshi on Twitter, posted with permission. Edits / corrections are mine.)

[nicht-vobla]

D E N I A L  part 2

[sbooksbowm]

The ‘Does this make sense?’ check: Chapter 2, Part 1, writer function

Turns out that this chapter was way too long for one post, so I broke it into three parts, one for each section. Hooray! Also, because this was originally written for an audience with 1) little knowledge of fandom and 2) little knowledge of Harry Potter, I edited out the explanatory asides about fandom-specific terms, assuming that if you are reading this here, you are more familiar with either/both. 

Introduction: the multiple jobs of a fic writer

This chapter focuses on the function of the fic writer: what does the fic writer do to distinguish herself from the author of the source text (so she is not simply replicating the source text but transforming it), articulating a new interpretation of the work (so making difference that is interesting to read), while maintaining the integrity of the universe in which she writes (so not deviating so much so that her characters/premise are unrecognizable to the reader)? It’s a tricky balance to strike! 

Part 1 looks at how writers balance the source text and fannish discourse in crafting their fic. 

Part 2 looks at how writers signal the ‘writerliness’ (or, open to interpretation-ness) of their fics to their readers by using Author Notes. 

Part 3 looks at what fannish contexts are necessary to read fic, particularly knowledge of fandom tropes to make works legible. 

This section looks at the writer as function of the text, or, to quote Kristina Busse, how fic is ‘the collection of the choices made’ by the fic writer in selecting which parts of the source text she will foreground [1].

This writer function also demonstrates how fic makes source texts ‘writerly’, or ‘constructed with every reading process’, as opposed to readerly texts, which are ‘closed and only need to be interpreted by readers’, to use Roland Barthes’s concepts [2]. The source text’s ‘writerliness’ allows fic writers to simultaneously assert themselves apart from the source text author in order to establish their vision while they necessarily rely on accepted understandings and interpretations of the source text within the fan community in order for their work to be legible. In each of the works I examine—Annerb’s ‘The Changeling’ (Parts 1-3), gedsparrowhawk’s ‘Hogwarts, to welcome you home’ (Parts 1&2), and waspabi’s ‘Hermione Granger’s Hogwarts Crammer for Delinquents on the Run’ (Parts 2&3)—the writer selects different elements of the source text and fandom conventions to make their work legible while holding themselves apart from the source text author. 

Part 1: the fic writer as function of text 

Busse writes that ‘the fan fiction writer is constantly engaged in creating her own individualized version of canon: she foregrounds certain facts and scenes and overlooks others; she makes some aspects of the story more central to her reading than they may be in the source text’ [3]. In practice, the writer balances transformation with obfuscation, drawing on a fannish framework while articulating her own interpretation, lest an interpretative community reject a characterization that veers too wildly from the known, accepted, and loved.

Alternative Universe fics play on the resonances of the original work such that they are recognizable to reader by adopting the structure of the original stories, replicating those events, and then twisting them slightly, inheriting the author’s intended meaning so that it contributes to the aggregation of the fannish interpretation. Writerly intent is a multi-faceted force that draws from source text, interpretive functions, and fan frameworks to produce a recognizable yet distinct work.

‘The Changeling’ by Annerb exemplifies this balance: ‘The Changeling’ retells the Harry Potter series from the perspective of Ginny Weasley, who is sorted into Slytherin House rather than Gryffindor House. Annerb plays with the reader’s knowledge of the canonical events of Harry Potter and subverts the expectations around characteristics of Slytherin members, writing redemptive arcs for many of the characters who were otherwise villainized or ignored and creating a fully realized student body. She executes on a favored fan interpretation of redeeming Slytherin members who are invested in House unity but spurned by prejudice, and she complicates the characteristics of other houses, highlighting their fallacies. Annerb centralizes an oft-discussed fanon of Harry Potter: what is the Slytherin perspective and how are they a part of the school? Ginny becomes the point of view for observing and catalyzing this transformation.

Annerb plays on the known conceptions of Ginny, refracting her strength, resilience, and humor through new circumstances of isolation from her family in a different house and commitment to an anti-hero status. She shifts Ginny’s context and writes out the personal and emotional repercussions of that change. The draw at the start of the fic, as the reader cannot know how different the story will be when they first read it, is asking ‘what if Ginny were in Slytherin?’, foregrounding the reader’s expectations of both who Ginny is and what Slytherin is, then slowly unraveling and reimagining both.

Another example, ‘Hogwarts, to welcome you home’, by gedsparrowhawk, demonstrates the tension between avowal of authorship (e.g. ‘JK Rowling wrote this’) and disavowal of authorial rights (e.g. ‘JK Rowling’s version is wrong’).

‘Hogwarts, to welcome you home’ is a Post-Series Alternative Universe that disregards the epilogue in Deathly Hallows and makes Harry Potter a professor at Hogwarts. In this, gedsparrowhawk overlooks the epilogue (which was criticized by many fans for many reasons) and centralizes Harry’s skill in teaching and his relationship with his godson, drawing on a popular fanon that rejects the notion that Harry would become an Auror. It also addresses a major criticism of the epilogue, which fails to acknowledge Harry’s post-war trauma; gedsparrowhawk rectifies that with an explanation of what Harry did immediately after the war, a confrontation with the portrait of Albus Dumbledore, and McGonagall’s own observations of Harry’s changed behavior. As such, ‘Hogwarts, to welcome you home’ offers one interpretation that does ‘not necessarily align with expected intended readings yet are shared by a sizeable number of readers’ [4]. 

In this case, the expected intended readings were written by JK Rowling in her epilogue, which pictures a peach-pie middle aged Harry in a stable relationship with his wife, Ginny, father of three children, seeing off his sons to Hogwarts with his best friends, Hermione and Ron, who are also in a happy marriage with two children. The idyllic conclusion to the series frustrated many readers, who wanted a deeper look at how the aftermath of the war affected Harry. A scroll through the comments section of ‘Hogwarts, to welcome you home’ suggests as much, with many readers commenting some iteration of ‘this is the epilogue now’. gedsparrowhawk successfully manages the tension of disavowing Rowling’s authorial rights in rewriting the epilogue and reinterpreting apparent themes in the source text.

Both Annerb and gedsparrowhawk use different perspectives (a common trope), and both make changes that resonate with popular fanons (Slytherin redemption and Professor!Harry). In these cases, the changes place both writers in opposition to the source text author, rather than in conflict with particular fannish factions; by situating their works with popular tropes, they signal their awareness of the fannish discourse and the reliability of their interpretations. 

Citations 

Busse, Framing fan fiction, p.107. 

Busse, p.25.

Busse, p.108.

Busse, p.109.