#kanzari

[chibi-lucca]

Marlu Monday! :D

I've got mostly patreon exclusive stuff now, so I'll just be posting some parts of the rushed chapter I made for the contest a bit back.

Please feel free to support me as an artist and become part of the making of Marlu!

The story is about the young witch Marlu. In recent years the church has gained a tremendous amount of power and followers. The reason for that is the dark witch; a rumored individual who is doing the church’s bidding. Marlu, through his journey of helping people and warning his fellow witches of the threat behind him, comes face to face with the dark witch and the plan of escape changes.

#artwork #digital art #art #original characters #original #webtoon #webcomic #marlu the potions master #marlu mondays #marlu and kanzari #marlu and soot #soot the familiar #soot #witchcraft #witchy #witches

[thewellbeingwarrior]

[ecoamerica]

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!

#ACLA24 #ACLA24Leaders #youtube #youtube video #climate leaders #climate solutions #climate action #climate and environment #climate #climate change #climate and health #climate blog #climate justice #climate news #weather and climate #environmental news #environment #environmental awareness #environment and health #environmental #environmental issues #environmental justice #environment protection #environmental health #Youtube

[lerpesse]

CAN 2019 : le coaching de Giresse salué par un collectif d'anesthésistes.

CAN 2019 : le coaching de Giresse salué par un collectif d’anesthésistes.

Outre la convaincante qualification des Aigles de Carthage aux huitièmes de finale de la Coupe d’Afrique de Nations, c’est la maestria du sélectionneur national, Alain Giresse, qui a bluffé non seulement le monde du foot, mais également celui de la médecine.

Une des victimes mauritanienne de la maestria de Giresse (Photo Hamima©)

En effet, la force tranquille dégagée par Giresse n’a pas…

View On WordPress

#coupe d&039;afrique #Egypte #équipe nationale #Giresse #kanzari #Médecine #onze national #sélection #Société Tunisienne d&039;Anesthésie d&039;Analgésie et de Réanimation #tunisie

[sulkybbarnes]

thinking about how joe remembered exactly who shot nicky (despite being in a fight and the guy having tactical gear on) and was like 'yeah nicky's 100% ok but like i'm still angry enough about it to kill you 🤷‍♂️'

Oh I’m not surprised he remembered because out of the two of them, Joe is definitely the more outwardly expressive one of his feelings, good or bad, as we saw in the van with Nicky and later with him shouting at Booker. Joe’s tone and expression during the scene where he kills the guy who shot Nicky seemed grieved to me. Take a look at it again and notice his expression afterwards, it’s almost as if he winces in pain after killing that guy and carries its weight instantly, but he’s still resolved and doesn’t hesitate about it which strikes me as a very complicated emotion where Joe would kill for Nicky, and to protect Nicky and their family without a second thought, therefore of course he would remember who they are and go after them, but much like Andy said, Joe feels and carries the weight of each one of these kills. So what pushes him forward must be a sense of deep loyalty and sense of protectiveness that’s taken roots centuries ago and keeps growing, and I love having that kind of depth with these characters. 

#I mean marwan kanzari was truly remarkable in this movie #joe x nicky #the old guard #asks #Anonymous

[tehcoop]

I am an old. I'm an old, old fandom lurker wandering from one fandom to the other for the past (oh God) two decades. I've read in everything from Gundam Wing in my (not that) delinquent high school years to Due South to Stargate Atlantis, Harry Potter, Star Wars, yadda yadda yadda, on and on up to The Witcher, most recently. 

And then The Old Guard.

Guys... Guys.

This movie smacked me in the face and shook me to my core. It was everything I've never known I wanted in an action movie because it just never occurred to me that it might exist. Two female leads! One of them is black! Eighty. Five. Percent female representation behind the scenes. 85%! Amazing character beats. Everyone has their own arc and motivations. No stereotyping. It's just beautiful.

And then there's Joe and Nicky. 

I have never related so hard to characters or to a relationship in my life. I love my badass immortal husbands so much. It's ridiculous. I could gush for hours. I'm nothing like them, of course. I identify as a mostly straight, mostly cis, so white I reflect sunlight (though I hope I'm at least an ally to BIPOC) woman. There's nothing particularly badass about me. But I still relate like hell to these characters. 

I love to laugh like Joe, and completely understand his protective instincts. And then there's Nicky. I relate to him more than any character I can think of currently. I'm introverted and can be kind of intense, but I'm also patient, kind, and nurturing. And if anyone does anything to hurt my family, especially my kids, I can rip you apart with just my words. (Seriously, I think my mother in law is afraid of me now after she got a talking to when I called her out for being shitty to my spouse. Our relationship is Much Better now). 

Most importantly, I am deeply in love with my wonderful spouse who happens to be a trans woman. 

And guys, I'm angry.

Remember, I'm an old. I've been searching for scraps hinting at any kind of queer love story in all kinds of media for decades. And I'm angry because I shouldn't have had to. 

I shouldn't have to read into a maybe not on purpose significant glance. I shouldn't have gotten excited when two characters grabbed each other in anger because clearly they're so in love. I shouldn't have been delighted when an actor bit his lip to hint at a love story in film, or that a writer said that a character was gay years after the books were written. I made myself believe that those little bits of subtext were enough and somehow better than getting it outright because then we can tell our own stories, right guys? I preferred reading fan fiction because I could think of the hot guys I wanted to pair up in the way I wanted. I even stopped watching a lot of gay movies because they were always so sad and full of strife, and I just couldn't relate to them. I just wanted my fluffy romantic comedies. Fan fiction was literally the only place that I could see any kind of healthy queer relationship.

Which is how I got to be almost forty and still identifying as mostly straight even though I'm in a queer as hell relationship. In each of these canon stories, the character's sexuality was part of the conflict, and I was never particularly conflicted about mine. I just liked who I liked and craved a healthy, stable relationship. Or when I did see characters like Klaus in Umbrella Academy (who I love) who is comfortable with their sexuality, he's also so fantastically ridiculous that I can only laugh or cringe at him. I enjoyed many of these stories, but still related more to the Jane Austen heroines I saw in straight stories even while I preferred to chill by reading about say... John and Rodney accidentally making a baby or something.

And then Joe and Nicky come along. And they're beautiful. They're a goddamn interracial, interfaith, committed, happy, unkillable gay couple. In canon. They are the most married. They're 900 plus years of married. Their sexuality and relationship are incredibly important to who they are and to the story without being the conflict of the story. Or without being a walking stereotype of one thing or other. Instead, you have two men casually stating their love for each other, blatantly declaring it, cuddling, and kissing all while they each have their own stories, skills, and motivations. 

I have literally never seen that before. Except at home, in my own house, where my spouse and I get to be our own people, but then support each other, tease each other, and cuddle at the end of the day. It was beautiful to see something that reflected the kind of love I always wanted and now get to have. In canon, on screen. Seeing Joe and Nicky's love makes me so deliriously happy that I'm incredibly angry I've never seen anything like that on screen before. Just imagine what it would have been like seeing that kiss in a crowded theater.

So why am I writing this? Because this movie is important. It's so goddamn important. I'm so happy it exists. And I want you all to know the actual weight of all the years of going without characters like this. What it means to say that I'm furious that I've never seen this before after decades of searching. How ridiculous it is that I still identify as mostly straight possibly because I've never really seen nuanced, flawed, real queer characters before. Instead, I've imagined and created evidence of gay relationships from nothing while ignoring the awful canon hetero relationships my favorite shows have forced on us. All while still unironically sighing over Mr Darcy and Clueless. I'm tired, y'all.

I want to see all the stories with all the people in various configurations. Romances, action, sci fi, fantasy, everything. The Old Guard did it. And they did it well. I'm done with the queer baiting. I don't think I can look at many of the fandoms I have loved throughout the years the same way again. I'm incredibly grateful to Gina Prince-Bythewood, Greg Rucka, Marwan Kanzari, Luca Marinelli, and the rest of the cast and crew for bringing me these already beloved characters. It's so refreshing to finally get what I've really wanted all these years. Representation absolutely fucking matters. 

And now? I'm gonna go back to being a lurker. I'll read all the Old Guard fanfiction I can. I'll watch all the movies, read all the comics because I want more stories like this, dammit. I'll probably go back to giggling over and overanalyzing little character moments in all kinds of fandoms again. Mostly, I'll just go back to quietly taking care of my little family. And I might post something again in another couple of decades when my kids are off to college. And God, do I hope it doesn't take another couple decades to get more characters like this. I hope that my kids get all kinds of stories I never did growing up so that they can figure out who they are and who they relate to before they're almost forty frigging years old. It's about goddamn time.

Thank you for listening to my TED talk.

#joe x nicky #nicolo di genova #yusuf al kaysani #the old guard #2020 is the year we consume media that turns us queer #done with this shit #look i wrote a thing #oh dear God i wrote a thing #gonna go hide again now #i have no idea how to do a read more sorry guys #immortal husbands

[nevermindirah]

My dash did a thing

Image description: a text post that says “they should give michelangelos david a boyfriend” and then a photo of Marwan Kanzari looking fucking hot in a black and white photo from the Wolf premiere

#immortal husbands #kaysanova #marwan kenzari #is so hot #the old guard

[ecoamerica]

Watch the 2024 American Climate Leadership Awards for High School Students now: https://youtu.be/5C-bb9PoRLc

The recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by student climate leaders! Join Aishah-Nyeta Brown & Jerome Foster II and be inspired by student climate leaders as we recognize the High School Student finalists. Watch now to find out which student received the $25,000 grand prize and top recognition!

#ACLA24 #ACLA24HighSchoolStudents #youtube #youtube video #climate leaders #climate solutions #climate action #climate and environment #climate #climate change #climate and health #climate blog #climate justice #climate news #weather and climate #environmental news #environment #environmental awareness #environment and health #environmental #environmental issues #environmental education #environmental justice #environmental protection #environmental health #high school students #high school #youth #youth of america #school

[therenegadesexualmystic]

So we all agree that Yusuf Al-Kaysani is the most beautiful man in the world, yes? (Followed closely by Luca Marinelli and Marwan Kanzari in some order, maybe a tie depending on hair & face scruff).

#my heart belongs to yusuf #the old guard #yusuf is king #my dream husband yusuf al kaysani #yusuf al kaysani #lesbians for luca #luca is a tiny dorito #luca marinelli #marwan kenzari #lesbians for marwan #I love 3 men only #pirate luca

[roterhonig-archive]

Working through Marwan Kenzari’s filmography and what the fuck was Loft (2010). For real, the remake was enjoyable, clearly not as good as the original but Marwan Kenzari really pulled me out of the movie, it’s the biggest casting error I’ve seen in a long while.

Filip/Tommy is supposed to be that unhinged, really unsatable/could snap at any moment, overflowing with violence and anger kind of character. That’s the opposite of Kenzari’s strength in acting, here he’s really incontrol, nothing slips off his face, he looks more like a playboy than a dangerous man. When in the og Filip can barely stay in one place and can’t keep his impulsiveness in check here you get the sense he’s not phased by anything and in control of everything all the time. Even in the scene where Filip/Tommy is supposed to break down you don’t feel that angry edge and how deranged he is, in Tommy’s it’s just sad when that’s clearly not the goal for the character.

So far, out of the movies I’ve seen he’s casted for the wrong character way too much. Here he would have been so great as the psychatrist, soft skin and raw heart and righteous. And let’s be honest we all know why he gets casted for that and it just makes it so much more upsetting.

#marwan kenzari #loft 2010 #movies #brain leak #i hate it!! he's so talented and it's wasted so often wth #matthias schoenaerts has the perfect face for those role + the boxer training that give him the right body language which is why he's so go #so good in the og 2008 loft but kenzari? That's the opposite of what he's good at #he doesn't have the physicality of schoenaerts and the dangerous stance throughout the movie he stands like a normal person #and his face is not shaped menacingly like it's open and his eyes are too expressive for the unhinged type of character #litteraly worst casting in the movie he shouldn't have gotten that role it's not for him #i also strongly suspect that the director didn't direct his actors in the best way possible #regarding some other performance... #so if the director wanted him to do that when it's clearly not what the script and plot calls for it didn't help either #but still: worst casting he should have been the psychiatrist

[hughmanrights]

The Old Guard Film Review

Director: Gina Prince-Bythewood

Main cast: Charlize Theron, Kiki Layne, Matthias Schoenaerts, Chiwetel Ejiothor, Harry Melling, Marwan Kanzari and Luca Marinelli

Runtime: 125 minutes

Does it pass the Bechdel test? Yes

Basic plot:

A group of immortal mercenaries secretly work to protect humanity. Based off the graphic novel by Greg Rucka.

Overall thoughts:

A great action-packed with with clever storytelling, acting and cinematography. The film deeply explores themes of life, death, immortality, heroism, duty, profit, grief and family. There is much diversity of ethnicity, sexuality and ideology among the characters.

Overall rating: 4.4 out of 5 Stars

#The Old Guard #netflix film #charlize theron #kiki layne #greg rucka #gina prince bythewood #matthias schoenaerts #marwan kenzari #luca marinelli #harry melling #chiwetel ejiofor

[chibi-lucca]

Marlu Monday! :D

this was my favorite panel from the webtoon contest. I want to redraw it at some point, but that'll be a future me issue.

if you want to help support me and the making of this webtoon join the patreon: patreon.com/Chibi_illustrations

:D hope to see you next monday!

The story is about the young witch Marlu. In recent years the church has gained a tremendous amount of power and followers. The reason for that is the dark witch; a rumored individual who is doing the church’s bidding. Marlu, through his journey of helping people and warning his fellow witches of the threat behind him, comes face to face with the dark witch and the plan of escape changes.

#artwork #digital art #art #original characters #original #webtoon #marlu mondays #marlu the potions master #marlu and kanzari #witches #witchy #story #comic #original comic #witchcraft

[betweenmirrors]

🪞👁🪞 𝐌𝐀𝐍𝐍𝐄𝐐𝐔𝐈𝐍𝐒 by AMINE KANZARI (@ a_m_e_a_n_y / 2021, #vfx #animation / #BetweenMirrors) 🪞👁🪞 https://www.instagram.com/reel/CUqx83dDxLH/?utm_medium=tumblr

#vfx #animation #betweenmirrors

[lavenderdreams7]

#keanu reeves #john wick

[ronnyshaiwrites]

The Woman in the Window: An Entrapment of Feminine Identity in the Domestic Home

“The Yellow Wall-Paper” (1892) by Charlotte Perkins-Gilman recalls one woman’s descent into madness from within the confines of her country manor. Gilman’s story further pervades into ulterior external spaces which reimagine the domestic household and its surroundings as a prison of feminine individuality. In “The Yellow Wall-Paper,” the narrator interacts with the external environment by peering through windows, the contents of which challenge her perceptions of reality. The fear she encounters due to her domestic confinement finds reaffirmation in the world she imagines beyond her windows, suggesting that from her internment, the domestic sphere expands to encapsulate all aspects of the narrator’s perceivable reality. Although the narrator's depictions of herself exist in singular relation to the domestic space, they encompass a physical space beyond the confines of her room. As the narrator’s mental state diminishes, so does her perception of reality, confusing ideas of how domestic space can shape the world beyond the confines of her home. The images she sees beyond her windows act as emancipatory symbols: External embodiments of her longing to escape, yet also as contradicting figures of ridicule, further defining her limited agency in the gendered world which imprisons her. As Gilman’s narrative progresses, the home becomes increasingly indistinguishable from the narrator’s character. In “The Yellow Wall-Paper,” windows signify the expansion of the domestic rather than an aperture admitting air or light. Rather than allowing access to an external world, windows counterintuitively externalize the narrator's feelings of confinement, ultimately projecting and extending the home and its accompanying patriarchal discourse beyond the interior space that appears to bind her. 

In “The Yellow Wall-Paper,” Gilman’s narrator engages with her surroundings through her interactions in the domesticated room and in the viewing the external environment from her window. From these interactions emerges a discourse between the two spaces; their communication distorting the separation of the public and private spheres. This dialogue eventually leads to the narrator being unable to distinguish either space, thus losing herself to an overpowering home. William C. Snyder in “The Yellow Wall-Paper as Modernist Space” identifies the two visual frames which materialize in the narrator’s writings: “(1) the windows out of which the woman can enjoy the pastoral spaces beyond the house, and (2) the wall, an antinature, two-dimensional “canvas” on which she ends up “painting” with emotion, anxiety, and obsession” (Synder 76). However, Gilman’s narrator has a more weary relationship to the windows in her room, one which extends beyond interacting with them to simply view pastoral landscapes. 

At first, her interactions with the external environment may seem benign. From one window she “commands the road, a lovely, shaded, winding road, and one that just looks off over the country. A lovely country, too, full of great elms and velvet meadows” (Gilman 847). Initially, Gilman builds suspense by articulating a seemingly pleasant relationship between the narrator and the outside world. More so, this external world momentarily exemplifies ideas of female emancipation. The windows present a liberating counter-space to interior walls she views with increasing dread: “I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please” (Gilman 846). Here, the sights beyond the window, present a redemptive contrast to the confines of the room. However, as her hysteria progresses, the domestic space expands outward. The images which first plague her within the confines of the room, now materialize in the external environment.  

As nature turns on her, the windows offer a vantage point to the shrinking external world, representative of the restraints that domesticity forces upon her. Using the motifs of light imagery, Gilman makes use of an observable natural phenomenon – the light of the moon – to suggest the encroachment of the external scene, like wall-paper of the room, upon the woman. She notices for the first time the moon and how it “shines in all around just as the sun does. I hate to see it sometimes, it creeps so slowly, and always comes in by one window or another,” (Gilman 849) and therein summons an overwhelming feeling that the moonlight is infringing upon her individuality. Alike to the wall-paper, which is interminably “grotesque,” the moonlight, which is seeps in from the windows, adds to her state of dismay. The narrator, watching “the moonlight on that undulating wall-paper” until she feels “creepy,” gives her a first sense that no space, whether inside the room or in the external environment is safe. Instead of the pleasingly pastoral pictures the windows once brought her, the narrator succumbs to her hysteria, projecting onto the external environment the same fear she harbours over her confinement to the home. The universality of this view renders the narrator helpless, her one solace slowly diminishing before her eyes. As Snyder’s idea of the pastoral window fades, the “new” windows, and the sights they behold, further restrict the woman to her domestic imprisonment.  

The exterior space, now acting to reinforce her domestic confinement, blights any possibly of her liberation from the home. From the narrator’s imagination emerges commonalities between internal and external images of captivity. As her observations become more vivid, more definite in their ability to induce hysteria, the steeper the narrator’s descent into madness becomes. The breakdown of the narrator’s ability to distinguish reality from fantasy materializes in the identical female figures she sees in the room, and then later through her windows. Initially, the narrator metaphorically attributes the patterns of the wall-paper to the female form, “like a woman stooping down and creeping about behind that pattern.” As the narrative progresses, however, figurative language gives way to deceptively “real” women, who “creep” about the narrator’s mind as they transverse the interior space of the walls. (Gilman, 849) Deborah Madsen comments on the breakdown of sense in the narrative, as it “questions the decipherability of the external physical world, basic categories of perception break down: real versus fantasy, living versus dead, actual versus imaginary, friend versus foe” (Madsen 84). Madsen’s theory allots the collapse of reality foremost to the figures which protrude from the walls. The windows, to which the narrator’s visible metaphors eventually extend, suggest the breakdown of perception as the manifestations become physically limitless.

In accordance with the outward expansion of the home, the narrator begins to project the ghosts of domesticity – visceral representations of her gendered state – onto the external environment. In confidence with herself, the narrator admits that “privately—I’ve seen her! I can see her out of every one of my windows” (Gilman 853)! As the images begin to coalesce within the narrator’s mind, the pace of the narrative increases. The woman, who, more desperate than ever to escape the ghosts of domesticity, turns to her window for solace, instead, and to her horror, finding a reaffirmation of her confined state. This instance represents another externalization of the narrator’s confinement – yet this time it is her own perception, embodied within the windows, which defies her. Here, Gilman suggests the gendered nature of the narrator’s affliction. Owing to the fact that it is other women, or more so, her perceptions of other women that abed her confinement, Gilman insinuates the dissociation of the domesticated woman from society. To view the home as a traditionally feminine space, only to have figurative women invade the house from the outside, metaphorically pits the narrator against herself. In this sense it is the women from the window who, like the narrator’s husband, restrict femininity to the domestic sphere. 

The windows themselves, once thought of as a medium of refuge, now propel the narrator further into madness by reflexively displaying back to her the restrictive images of her depleting conscious. Gilman achieves her narrator’s isolation through an inversion of how readers traditionally view the symbol of a window. Architectural theorist Bechir Kenzari defines what he believes to be a shared understanding of the window’s symbolism:

The window provides the narrator/dweller with this privilege of knowing him or herself as other, through the perception of a common belonging expressed by the opening of a shared human space… The narrator/dweller is no longer an active sender but a passive receiver; and conjointly, the window no longer appears as place located ‘there’, but a place of reception located ‘nearby.’ (Kenzari 43)

Instead of allowing the narrator to escape through the frame of the window, Gilman uses the window to isolate the narrator from the outside world, and in doing so, defies Kanzari’s ideas of “shared human space.” Though the narrator remains a “passive receiver,” which contributes to her depleting agency, the “nearby” locality that windows typically provide is hyper-actualized. The nearness of her hallucinations becomes so close as to manifest themselves within the domestic space the narrator is trying so desperately to escape. Additionally, Gilman denies her narrator a “perception of a common belonging,” as the sights she views from her window only further reinforce the “otherness” of the female condition – the isolation of the mad woman within her home. For the narrator, the window is not a “‘recreating’ virtue that could be closed and opened at will,” (Kenzari 43) but an obstructive object which symbolizes her entrapment.

The prison-like nature of the domestic window takes on a visceral representation in the text. The windows, “barred for little children,” (Gilman 845) both demean the narrator, treating her as a child who lacks agency over her entrapment, as well as take an emancipatory symbol and distort it beyond its traditional meaning. Again, invoking light imagery in the natural scene, “the lamplight, and worst of all by moonlight, [they] become bars! The outside pattern I mean” (Gilman 851). From this perspective, it is not the windows alone that demonize receptacles of light; the placing of bars on the windows contort images of sanctity into reminders of her insanity – the bars turn the moon’s light into a reminder of the “patterns” which the narrator fears. The moonlight “becomes bars;” the only way for the narrator to observe the external environment is though the barred window. Therefore, all the images which the narrator views from her windows invoke feelings of confinement, whether they themselves represent her imprisonment or not. Like the internment of the narrator herself, the windows trap images of the external environment in the home. The images of the domestic sphere construct the narrator’s perception of herself, tying it intrinsically with the physical house and, ultimately, extending the limits of the home beyond interior spaces. 

Gilman reimagines both interior and exterior spaces as places for the confinement of the female form. More explicitly that the expanding domestic sphere can overtake the external sphere which lies beyond its walls. The gendered nature of the narrator’s internment only exacerbates her affliction. The effigies of “creeping women,” which are she views though the already confining visual frame of the window compound upon one another, until, to the detriment of the narrator, the images overpower her waking mind. In trying to view the hordes of creeping women, the narrator spins about her room, the windows providing the visual frame from which her confinement externalizes:

“I often wonder if I could see her out of all the windows at once. But, turn as fast as I can, I can only see out of one at one time. And though I always see her she may be able to creep faster than I can turn! I have watched her sometimes away off in the open country, creeping as fast as a cloud shadow in a high wind.” (Gilman 853)

Imitations of women, who represent an external-self, overpower the narrator’s view and invade  all spaces, both exterior and otherwise, that the narrator uses in her attempts to defy capture. Unable to “outcreep” the shadows protruding from the barred windows, the entire weight of the scene falls upon the woman in her hysteria. As a woman, the narrator must passively bear witness to the devouring of her sanity from a state of confinement she lacks the agency to change.

“The Yellow Wall-Paper” disrupts the traditional image of the women’s place in the home by taking to the most extreme the repercussions of confinement to the domestic sphere. Gilman suggest this confinement to be all consuming, both from within the home and from the external spaces that the captive woman can view. Windows, which once provided a redemptive Eden for the enclosed mind, slowly pervade inward, collapsing the external environment into the domestic space and thereby cornering the woman to the space of her bondage. From a place of limited agency, the woman, becomes metonymous with the home, an indistinguishable entity from the walls and other fixtures of the domestic sphere. From a state of confinement, windows become mirrors: Reflective panes which hurl backward an image of isolation in the feminine form. In place of levity, windows come to represent the gravity of the narrator’s affliction, contorting landscapes until they become unrecognizable. With an outstretched arm, the narrator grasps for the outside world only to have the window slam definitively shut – the final aperture closing – to leave a lone woman shroud in the darkness which is her waning mind.

Works Cited

Kenzari, Bechnir. “Windows: Architecture and the "Influence" of Other Disciplines.” Crossing Boundaries vol. 3, no. 1, 2005, pp. 38-48.

Madsen, Deborah. “Gender and Work: Marxist Feminism and Charlotte Perkins Gilman.” Feminist Theory and Literary Practice, 2000, pp. 65-93.

Perkins-Gilman, Charlotte. “The Yellow-Wall Paper” The Norton Anthology of American Literature: vol. C, 9th ed., edited by Nina Baym, W.W. Norton and Co., 2003, pp. 845-853.

Snyder, William C. “’The Yellow Wall-Paper’ as Modernist Space” Charlotte Perkins Gilman and a Woman's Place in America. edited by Jill Annette Bergman, The University of Alabama Press, 2017, pp. 72-93

#essay

[haber-zeynart]

Netflix, The Old Guard'ın Yeni Fragmanını Yayınladı

Daha önce Daredevil ve  Locke & Key aksiyon uyarlamalarında oldukça iyi işler ortaya çıkaran Netflix, şimdi de Greg Rucka ve Leandro Fernandez’in çizgi roman serisine dayanan bir aksiyon uyarlaması ile karşımıza çıkmaya hazırlanıyor. Netflix, başrolünde Hollywood’un en başarılı aktrislerinden Charlize Theron’un yer aldığı The Old Guard için şimdi yeni bir fragman daha yayınladı. The Old Guard’da Charlize Theron, binlerce yıldır hayatta olan Andy adlı bir savaşçıyı canlandırıyor. Andy, yaralarını tekrar tekrar iyileştiren bir güç nedeniyle ölemiyor. Bir savaşçı için olabilecek en iyi güçlerden birine sahip olan Andy, kendisiyle aynı güçlere sahip olan elit bir paralı asker takımına liderlik yapıyor. Başrolde Charlize Theron’a Kiki Layne’in eşlik ettiği filmde ayrıca Marwan Kanzari, Luca Marinelli, Harry Melling, Van Veronica Ngo, Matthias Schoenaerts ve Chiwetel Ejiofor da rol alıyor. Senaryosunu, çizgi roman serisinin de yaratıcılarından olan Greg Rucka’nın kaleme aldığı filmi Gina Prince-Bythewood yönetiyor. Netflix, The Old Guard’ı “Yüzyıllar boyunca gizlice insanlığı koruyan dört ölümsüz savaşçı, yeni bir ölümsüzü keşfettikleri sırada gizemli güçleri nedeniyle hedef hâline gelir.” şeklinde açıklıyor. Filmin konusunun en azından kağıt üstünde Hakan: Muhafız’a benzediği söylenebilir. The Old Guard - Ölümsüzlük fragman Read the full article

#The

[nevermindirah]

Rules: tag nine people you want to get to know better or catch up with, then answer these questions:

tagged by @hottopicmonk, hi new friend!

Three ships: Book of Nile, SamSteve, the CATWS barbershop quartet plus Peggy and the Howlies in any combination with each other and happiness

Last song: Save Tonight by Eagle Eye Cherry

Last movie: The Promise, a meticulously researched and gorgeous movie about the Armenian Genocide starring Oscar Isaac and featuring surprise Marwan Kanzari. I cried for probably a solid 2 hours during and after. Strongly strongly recommend

Currently craving: Food that someone who loves me cooked for me.

Currently reading: Unapologetic: A Black, Queer, and Feminist Mandate for Radical Movements by Charlene A. Carruthers, it's SO GOOD

I’m running late for a work thing and feeling overwhelmed about tagging people, do this if you want to!

#fandom friends

[lejournaltunisien]

Wadii Jarii : le sort de Maher Kanzari sera décidé aujourd’hui (Vidéos) #Wadii #Jarii #sort #Maher #Kanzari #décidé #aujourdhui #Vidéos https://t.co/44jQ3ApyEm

Wadii Jarii : le sort de Maher Kanzari sera décidé aujourd’hui (Vidéos) #Wadii #Jarii #sort #Maher #Kanzari #décidé #aujourdhui #Vidéos https://t.co/44jQ3ApyEm

Wadii Jarii : le sort de Maher Kanzari sera décidé aujourd’hui (Vidéos) #Wadii #Jarii #sort #Maher #Kanzari #décidé #aujourdhui #Vidéos https://t.co/44jQ3ApyEm

— LeJournalTunisien (@Journal_Tunisie) November 21, 2018

from Twitter https://twitter.com/Journal_Tunisie November 21, 2018 at 03:00PM

#Wadii Jarii : le sort de Maher Kanzari sera décidé aujourd’hui (Vidéos) Wadii Jarii sort Maher