Hi all! I’m currently in a predicament where I need to make circa 200 euros a month. So, I got a ko-fi, and I do commissions!
https://ko-fi.com/letruneinedil
https://www.furaffinity.net/user/letrune/ my furaffinity gallery
https://www.deviantart.com/letrune my deviantart gallery
You can find me there or maybe on discord if you got questions!
New: commissions price sheet!
Terms of service:
Prices are starting prices, and will increase by the amount of work required, depending on content, complexivity and detail. All prices are in euros, these are the minimum.
My artwork is
-NOT for sale
-NOT for feeding into AI
-NOT for any sort of monetisation
If you are not the commissioning party, the image is NOT for you to use as your image, not for your roleplays, not as a forum icon, nor as a reference image.
Drawn commissions are all drawn digitally by myself, from scratch, there are no reused assets, no tracing. For this reason, you are also not allowed to use them unless you are the commissioner. If the commissioner is anonymous, see what you are NOT allowed to do with it.
I work on commissions in my free time, therefore time is not specified. Please do not try to haste it.
Breaking these terms and services will result in retaliation and publicly denouncing the breaker's acts.
what people don’t understand about how adhd is disabling is that it’s not just getting temporarily distracted from, like, school work or hobbies. it’s getting distracted/being unable to motivate yourself to go to the doctor, eat regularly, do hygiene tasks, etc. it’s not knowing when or how long it will take you to do something, ANYTHING, and in many cases that thing is taking a shower or keeping your house from turning into a biohazard. it’s about being fundamentally incapable of controlling your attention and focus on anything, even and especially things you need to do to survive.
I took the very first sketch I ever did of Tulia and Miguella, redrew it and turned it into an animation. Watching the girls come alive frame by frame was truly magical, and i am very happy with the result, definitely going to come back to animating again.
What I never expected to feature on our blog is gender-flipped Shrek fanart, but can't say I'm complaining. Prince Charming does indeed translate beautifully into a warrior woman, full plate armor included.
Makes you go "I support women's rights and also wrongs."
yes we all know about medieval jesters waging psychological warfare in times of combat, but wait there’s more!
at the beginning of battles they would ride in on horseback, juggling swords or lances, and taunt & bait the opposition. soldiers would get so angry they would break rank & weaken formations just to try to kill the fool
building on this post on jeanne d'arc as a part of trans history, some really interesting info on how her gender presentation & sexuality was read, especially through the lens of transfeminist theory:
In what terms were Joan and her contemporaries able to perceive her redefined sexuality? There is little contemporary evidence for a medieval discourse of bisexuality or lesbianism, although as noted above the evidence is somewhat stronger for male homosexual consciousness. Instead, the sexual binary dominates, and Joan's identity is perceived in terms of its poles, as a construction vacillating between them. De quadam puella, cited above, imagines this vacillation as a series of temporal shifts from one pole to the other, a shifting that respects Deuteronomy's enforcement of categories: Joan is alternately a clever leader when in armor and an ignorant maiden in a dress.
Unfortunately for Joan, her practice did not observe this purifying polarity. A final discrepancy between the Latin and French records brings out the transgressive potential in Joan's mixed position. The fifth of twelve articles drawn up at the end of the trial for deliberation by the court and other advisers charges that Joan cross-dressed and cut her hair like a man's, "nichil super corpus suum relinquendo quod sexum femineum approbet aut demonstret" [leaving nothing on her body that proves or reveals her female sex]; the Orleans manuscript stops at that while the Latin record continues "preter ea que natura eidem femine contulit ad feminei sexus discrecionem" [except for what nature has provided her to distinguish the female sex].
The full Latin accusation suggests that Joan's fault is the greater in that she has not crossed over entirely (like the transvestite saints perhaps) into a masculine position. Her body is the more visible and shameful for its imperfect containment in cross-dress. She occupies neither position in the gender binary, but contaminates both by combining them-hence Jean d'Estivet, one of the major figures in her trial, is said to have called her "putana" and "paillarda" [whore, wanton], although her physical virginity is unquestioned.
Among her contemporaries, only Christine de Pisan imagines positively a Joan who conflates masculinity and femininity in one persona. The Ditie de Jehanne d'Arc (1429) uses the masculine form "preux" for Joan while maintaining "preuses" to modify other heroic women. This grammatical cross gendering reinforces Christine's mixed imagery for Joan, "Ie champion et celle / Qui donne a France la mamelle / De paix et doulce norriture, / Et ruer jus la gent rebelle" [the champion, she who gives France the breast of peace and sweet nourishment, and who casts down the rebel host]. The simultaneity of feminine and masculine attributes contrasts to De quadam puellds version of pure sequentiality. To be sure, Christine finds nothing normal in this simultaneity. "Veez bien chose oultre nature!" [Here truly is something beyond nature!] concludes this stanza, and a similar passage rhymes the doubly gendered adjectives for Joan, "fort [m.] et dure [f.]" with "fors nature" [outside nature].
from Clothing and Gender Definition: Joan of Arc by Susan Crane.
i'll put the next part under a cut for length but this paper also critiques the "women only crossdress for privilege/safety" model as applied to Jeanne, and details on how she presented her gender:
Vern Bullough argues that whereas medieval sources attribute male cross-dressing to lust for women or effeminacy, female cross-dressing is motivated by desire for the social advantages of men-protection from sexual assault, mobility, access to arms, and so on. Caroline Bynum makes a similar point in generalizing from the case of Joan of Arc: "cross-dressing was for women primarily a practical device.... Perhaps exactly because cross-dressing was a radical yet practical social step for women, it was not finally their most powerful symbol of self."
The practical advantages of taking the role of a knight rather than a peasant, and a man rather than a woman, are evident in Joan's case, but to consider her cross-dress only in terms of social advantage elides her damaging refusals to give it up in prison and oversimplifies the gender identity Joan articulates during her trial.
Joan's testimony about her conduct in war is one context for considering that identity. Bynum argues that religious women who cross-dress continue to see themselves "in female images ... not as warriors for Christ but as brides, as pregnant virgins, as housewives, as mothers of God." Joan in contrast sees herself most accurately as a warrior, never drawing on imagery of pregnancy, motherhood, or nurturing, but she is a warrior with a difference: asked which she loved better, her standard or her sword, she replies that she loved the standard forty times better, and that she carried the standard herself in battle "pro evitando ne interficeret aliquem; et dicit quod nunquam inter fecit hominem" [in order to avoid killing anyone; and she added that she had never killed anyone]. She does approve her sword, "quia erat bonus ensis guerre et bonus ad dandum bonas alapas et bonos ictus, gallice de bonnes buffes et de bons torchons" [because it was a good sword for war and good for giving good slaps and good blows, in French "good whacks and good wallops"].
The French phrase testifies not only to Joan's colloquial vocabulary but again to her curious restraint about killing. Her sword seems less to threaten life than to punish and chastise in the manner of her weapon of choice, a heavy stick or martin by which she was known to swear ("par mon martin") and which she sometimes used on her own disobedient soldiers and their camp followers. This difference about killing may also motivate Joan's discomfort with the term chief de guerre, which she used in a letter of warning to the King of England but repudiated during her interrogation, later explaining that "s'elle estoit chief de guerre, s'estoit pour batre les Angloys" [if she was a war leader, it was to fight the English]. Her letter indicates that she would rather the English simply left at her warning, though if they do not, "je les feray tous occire" [I will have them all killed]: again she distances herself from the killing by however small a margin. She sees herself as a fighter, then, not a mother or a bride; but the modifications she brings to war leadership by carrying her own standard, refraining from killing, and preferring her stick and her standard to her sword constitute her refusal to succumb uncritically to the conventional model of the masculine warrior.
Joan's testimony about women's roles and her relations to women both defers to femininity and departs significantly from it. The trial's focus on clothing can present this range of evidence succinctly. Following Deuteronomy's prohibition, Joan's judges consider cross-dressing to be a reprehensible violation of the feminine category "contra honestatem sexus muliebris et in lege divina prohibita ac eciam Deo et hominibus abhominabilia et per ecclesiasricas sancciones sub pena anathematis interdicta" [against the uprightness of the female sex and prohibited by divine law, equally abominable to God and to men, and forbidden by ecclesiastical law under pain of anathema]. The faculty of the University of Paris sustains the connection between cross-dressing and cross-gendering in their opinion that "relicto habitu muliebri, virorum habitum imitata est" [having given up women's way of dressing, she imitated the comportment of men]: the recurrence of habitus in its literal and figurative senses reinforces the argument that clothing expresses gender.
As detailed above, Joan counters during the trial that her clothing is insignificant to the state of her soul and (quite differently) that her clothing signifies her mission rather than her gender alignment. Both positions become less tenable as the struggle over access to the sacraments reveals her deep commitment to cross-dressing and as pressure from the court calls into question for her whether her cross-dressing should be attributed to God's command. The explanation she gives after her relapse, that "elle ayme mieulx l'abit d'omme que de femme" [she likes men's clothes better than women's], gains credit from earlier testimony revealing the ease with which she adapted to them from the beginning: when asked what reverence she showed to St. Michael at the Dauphin's court, she replied that she "se agenoulla et oulta son chaperon" [knelt and took off her cap]. Here again Joan's identity as "Pucelle" appears complexly gendered; she inhabits the masculine gesture as well as men's clothing. Joan's masculine habitus helps account for doubts about her sexuality when she presented herself to the Dauphin: Jean Pasquerel testifies that Joan was twice visited by women to determine "si esset vir vel mulier, et an esset corrupta vel virgo; et inventa fuit mulier, virgo tamen et puella" [if she were a man or a woman, and if she were deflowered or a virgin; and she was found to be a woman, but a girl and a virgin]. That women were chosen to make this determination suggests Joan's female sex was not in much doubt: male physicians would have been more appropriate investigators of sexual anomaly had it seemed likely that Joan was male. However, that the sex determination needed to be made at all indicates that Joan's cross-dressing and cross-behavior were perceived to complicate her sexuality and move it beyond the normative.
like it or not, Jeanne la Pucelle was a transmasculinized figure.
anyways as a reward for you reading all of this, here's a 1909/1910 depiction of Jeanne in male dress with her hair cropped, titled "The Trial of Joan of Arc" by Louis Maurice Boutet de Monvel:
everyone jokes about the pope's hat but most people don't know it actually serves an important purpose! evolutionary threat display to assert dominance against rival bishops
now you might think THIS is a plummage mating display
but popes are bred to aggressively seek territory and hierarchical power, not potential mates. so anytime you see something like this, it's still very much a standard threat display
My name is Kdin Jenzen, I'm a trans woman voice actress/producer/social media manager … Kdin Jenzen needs your support for Help Kdin Crawl O
Welp, a new "the worst thing that could happen" has happened for me:
I received a letter YESTERDAY that my medical debt from 2018-2022 has hit a point where the creditor is no longer allowing "min payments" & I have til June 6th to pay it IN FULL... "or else."
If you can help, I'd appreciate it.
Unfortunately that ALSO means I'm still struggling for rent and bills as well, but I've decided to keep that and this separate as to not combine the issues into something even more stressful for my brain...
