does. anyone else experience the language learning pipeline of like
yeah why not seems kinda fun -> (optional step) the writing system is crazy bro -> damn theres no WAY im gonna remember any of this shit -> genuine interest and fascination with the differences between languages and needing to Know more
and its because of the stupidest reason for starting learning it in the first place
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can't believe an anime called buddy daddies did not end up being, in fact, just a silly little comedy of two hitmen raising a child together but instead an actual heartwarming, well written show about (re)learning to love and to be loved, about how the meaning of family goes way beyond blood and no matter how unconventional it may be, it's still as perfect and valid because it's yours and you wouldn't trade it for anything else
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btw, any update on shiver's japanese personal pronouns now that the full game is out? theres a tweet going around saying she uses both uchi and onore and that it's a feminine+masculine combo, i wanted to double check and see if that is actually the case or if onore is a common pronoun for women to use? people are getting really militant abt this for no reason (unsurprisingly)
I think I've seen that tweet, yeah, and it's wrong.
So to start this off so everyone knows what’s up: I’m a native Japanese speaker, and I’m nonbinary myself. I’m approaching this topic as someone who WOULD LOVE to have canon, intended, Cisn’t rep here.
However, the situation in regards to Shiver is just a misunderstanding of the... complexities and nuance (?) that comes with the myriad of ways people can refer to themself in Japanese, and there’s actually nothing being censored by NoA when they confirmed that she is intended to be female. As of me writing this (September 17th 2022), there has been no content in the Japanese dialogue that ever suggests that Shiver might be intended to be nonbinary or otherwise some flavor of Not Female.
Before I even get into pronouns I gotta point out that her Japanese name is Fuuka, which is a regular ass girl's name in real life (albeit it's also being used as a shark pun). I think that if they were going to put a canon nonbinary character in Splatoon they're going to be more obvious about it.
Anyhow, with regards to The Question: the instance that Shiver uses "onore" is actually in the Rock Paper Scissors splatfest dialogue, right here:
おのれの魂をコブシに宿し、天につき出すその姿... 勝者のポーズゆうたらコレや!
I always have a hard time doing my own translations because my brain gets caught up on a million different things, but one way I'd write this to try to get across how she's using "onore" as is this:
"Placing one’s soul into one’s fist, raising it towards the heavens... That's the pose of victory!"
It's true that "Onore" has seen some historical use as a personal pronoun, but it's an archaic kind of usage in standard Japanese. It's not actually necessarily masculine either. Now, it does still see relatively common usage in various dialects in western regions, but mostly in the second person. I don't think I've ever heard "Onore" being used as a personal pronoun in the way you'd use stuff like "Watashi" or "Boku" (which is the kind of usage it's being confused with in that tweet) these days, even when writing fictional character dialogue.
That's irrelevant here, however, because that's not how it's being used here! It's being used to refer to a generalized "self" for theatrical effect, and not even as a personal identifier really. I'd say in this case a similar comparison in English would be "oneself" - kinda formal, depending on how you use it it might also be including the speaker, but not explicitly Just The Speaker. Does that make sense?
The like... connotations and perceptions surrounding how one chooses to refer to themself in Japanese is really complicated and context dependent and I DO understand how it might be easy to get confused! I can also see how people learning Japanese as a second language might have extra trouble with Shiver's dialogue in general since she speaks in the Kyoto dialect instead of standard Japanese. Shit's hard! Anyways unfortunately this has been once again a misunderstanding sorry everyone. We can do other things in headcanons, but we can't be going after people or the translators for this.
...
On the subject of personal pronouns though FRYE uses "washi" which has been fun because that is not something typically used by young people! In dialects where it's still common for young people to use "Washi", it tends to be more commonly used by guys, but the more common association is with Old People. Frye in general just speaks like a stereotypical Old Person though I love her she's great. Where's the fucking Frye crowd at
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“Trans men and mascs don’t get a special word because they aren’t oppressed specifically as men, since as men they reap benefits of patriarchy, because if there are two resumes on the table and one has the name Dave and the other Susan, and both happen to be trans, Dave will be hired over Susan, regardless of how his coworkers see his gender.”
a) You really think every transmasc has equal access to changing their name? You think every transmasc wants to take a name that is normative? If I apply for a job right now, it would still have to be under my legal name, which is the one my parents assigned me along with the gender I shed. It’s pretty cis-normatively female. Even if I changed my name, Enviri is not a name that would get me sorted into a pile with Daves and Joes.
b) You’re acting like there isn’t an interview process, where if you don’t pass, you definitely won’t be sorted into the Dave pile if your name is Dave but you can’t physically transition and so don’t pass as cis.
These sorts of statements rely on assuming that all transmascs are passing and stealth, and so gender-conforming. Or that society is actually good at viewing trans people as our actual gender if we aren’t those things.
Denying transmascs language based on the absolute most privileged of us that you can imagine does absolutely nothing. I’ve not gained an ounce of male privilege as a non-passing, GNC transmasc because it’s society that grants privilege, and society is still extremely hostile to ALL trans people, AND men who don’t conform ESPECIALLY if they’re trans and had been stealth, and society will still at this point remove all that privilege if trans status is known.
It’s petty as fuck to make up reasons to take down a word and conversation when it all comes back around to, “oh well, you don’t get a word because, uhm, we don’t think you should have one because it makes us feel less special about having our own word.” Fuck off.
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BATFILES: Dick Grayson
FULL NAME: Richard John Grayson
ALIAS: Nightwing, prev. Robin
DATE OF BIRTH: March 21, 1991
HAIR: Black, wavy and thick
EYES: Dark blue
SKINTONE: Deep tan
HEIGHT: 5'10"/177cm
WEIGHT: 175lbs/80kg
ETHNIC BACKGROUND: Romani (tracing back to Spain, Romania, France and India mainly)
DISTINCTIVE SCARS AND MARKINGS: moles on face and body, piercing scar on left earlobe, small scar on chin
LANGUAGES: English, Romani (not fluent anymore), Japanese, Mandarin, Cantonese, Russian, Spanish, French, ASL (not entirely fluent), and some Tamaran
ADDITIONAL INFORMATION: suffers from regular pain in left knee due to injury acquired during early Nightwing days
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the thing about amen and vincent that i think a lot of you still do not understand (and i'm using them specifically bc they're the ones being compared) is that 1) amen wants every single dark magician dead, and he takes pleasure in torturing them and killing them, that is a very important part of his character, and that's why the book has made it so fucking clear! amen said it himself! he is not gonna change his ways just because he and eva are in love! eva literally makes the decision to accept that part of himself, so you cannot deny it and you can't complain if you were expecting something else because the book was pretty clear from the beginning about who amen really was (and i'm not saying he doesn't have layers but those do not take away the fact that he enjoys killing and that's that) -- and 2) vincent is not like amen at all. sure, his job, and i think it even has to do with his legacy, is being a demon hunter, but he doesn't go around killing every fucking demon he comes across, he's only after the ones who don't care about his world's ways, the ones who kill humans (like mc was planning to do until he told her what would happen if she did). and sure, you can argue that both amen and vincent want to rid the world of "evil", but again, amen takes pleasure in toturing and killing people (and it's because of a personal vendetta he has, may i add), vincent does not
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okay i don't know if someone already has said this, but i'm making this post bc i can't stop thinking about this tweet and i'm 90% sure we're getting it in the next episode:
this is because:
we know that ray and sand make out in the car the next ep
we see top and mew kinda having problems at the party (or at least it seems so since boston is doing is best to push them apart)
we see mew making a call and being kinda sad
and since we know boston and top will fuck in the car the next episode, my theory is that probably ray ditches sand for mew, top sees them together, takes it the wrong away and ends up with boston in the car.
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"Stan favors Mabel and Ford Dipper" WRONG!!!
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At which point did you realise that the plot of IW is ass? I've seen people complain only about the ending or the halfway point where the teams separate, while I was already actively rolling my eyes like four-five chapters in
i think the moment i fully accepted that IW's story was. Definitely A Story was the moment ebina announced 'bleach japan'. like i think leading up to that point i was thinking to myself 'oh i hope i see X happen' or being like 'i wonder where this is going' and that sort but the proverbial bucket of ice was definitely that moment
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note to self: post more alex closet cosplays when i need a pick me up/ego boost.
thank you to everyone for being so nice to me 🥹
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So, I finished reading the Silmarillion yesterday. And also realized, as I was placing it back on my shelf, that I never finished reading the appendices in Return of the King. So I guess my weekend is spoken for.
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So yesterday I read "Slimed with Gravy, Ringed by Drink" by Camille Ralphs, an article from the Poetry Foundation on the publication of the First Folio in 1623, a major work without which most of Shakespeare's plays might very well have been lost today, possibly the most influential secular work of literature in the world, you know.
It's a good article overall on the history and mysteries of the Folio. Lots of interesting stuff in there including how Shakespeare has been adapted, the state of many surviving Folios, theories of its accuracy to the text, a really interesting identification of John Milton's own copy currently in the Free Library of Philadelphia, and the fascinating annotations that may have influenced Milton's own poetry!!! Do read it. It's not an atrociously long article but there's a lot of thought-provoking information in there.
There's one paragraph in particular I keep coming back to though, so I'm just gonna quote it down here:
...[T]he Play on Shakespeare series, published by ACMRS Press, the publications division of the Arizona Center for Medieval and Renaissance Studies at Arizona State University... grew out of the Oregon Shakespeare Festival’s plan to “translate” Shakespeare for the current century, bills itself “a new First Folio for a new era.” The 39 newly-commissioned versions of Shakespeare’s plays were written primarily by contemporary dramatists, who were asked to follow the reasonable principle laid out by series editor Lue Douthit: tamper in the name of clarification but submit to “do no harm.” The project was inspired by something the linguist John McWhorter wrote in 1998: “[the] irony today is that the Russians, the French, and other people in foreign countries possess Shakespeare to a much greater extent than we do … [because] they get to enjoy Shakespeare in the language they speak.”
Mainly it's the John McWhorter thing I keep coming back to. Side note: any of my non-native-English-speaking mutuals who have read Shakespeare, I would love to know your experiences. If you have read him in translation, or in the original English, or a mix of both. It's something I do wonder about! Even as an Anglophone reader, I find my experience varies so much just based on which edition of the text I'm reading and how it's presented. There's just so much variety in how to read literature and I would love to know what forces have shaped your own relationships to the stories. But anyway...
The article then goes on to talk about how the anachronistic language in Shakespeare will only fall more and more out of intelligibility for everyone because of how language evolves and yadda yadda yadda. I'm not going to say that that's wrong but I think it massively overlooks the history of the English language and how modern standard English became modern standard English.
First of all, is Shakespeare's language completely unintelligible to native English speakers today? No. Certain words and grammatical tenses have fallen out of use. Many words have shifted in meaning. But with context aiding a contemporary reader, there are very few lines in Shakespeare where the meaning can be said to be "unknown," and abundant lines that are perfectly comprehensible today. On the other hand, it's worth mentioning how many double entendres are well preserved in modern understanding. And additionally, things like archaic grammar and vocabulary are simply hurdles to get over. Once you get familiarized with your thees and thous, they're no longer likely to trip you up so much.
But it's also doubtful that 400 years from now, as the article suggests, our everyday language will be as hard to understand for twenty-fifth century English speakers to comprehend. The English language has significantly stabilized due to colonialism and the international adoption of English as a lingua franca. There are countless dialects within English, but what we consider to be standard international "correct" English will probably not change so radically, since it is so well and far established. The development and proliferation of modern English took a lot of blood and money from the rest of the world, the legacy of which can never be fully restored.
And this was just barely in sight by the time that Shakespeare died. This is why the language of the Elizabethans and Jacobeans is early-modern English. It forms the foundations of modern English, hence why it's mostly intelligible to speakers today, but there are still many antiquated figures within it. Early-modern English was more fluid and liberal. Spelling had not been standardized. Many regions of England still had slight variations in preferences for things like pronouns and verb conjugation. We see this even in works Shakespeare cowrote with the likes of Fletcher and Middleton, as the article points out. Shakespeare's vocabulary may not just reflect style and sentiment, but his Stratford background. His preferences could be deemed more "rustic" than many of his peers reared in London.
Features that make English more consistent now were not formalized yet. That's why Shakespeare sounds so "old." It's not just him being fancy. And there's also the fact that blank verse plays are an entirely neglected art nowadays. Regardless of the comprehensibility of the English, it's still strange for modern audiences uninitiated to Elizabethan literature to sit there and watch a King drop mad poetry about his feelings on stage by himself. The form and style of the entire genre is off.
But that, to me, is why we should read Shakespeare. We SHOULD be challenged. It very much IS within the grasp of a literate adult fluent in English to read one of his plays, in a modern edition with proper assistance and context. It is GOOD to be acquainted with something unfamiliar to us, but within our reach. I'm serious. I do not think I'm so much smarter than everyone else because I read Shakespeare. I don't just read the plain text as it was printed in the First Folio! The scholarship exists which has made Shakespeare accessible to me, and I take advantage of that access for my own pleasure.
This is to say that I disagree with the notion that Shakespeare is better suited to be enjoyed in foreign tongues. I think that's quite a complacent, modern American take. Not to say that the sentiment of McWhorter is wrong; I get what he's saying. And it's quite a beautiful thing that Shakespeare's plays are still so commonly staged, although arguably that comes from a false notion in our culture that Shakespeare is high literature worth preserving, at the expense of the rest of time and history. It is true that his body of work has such a high level of privilege in the so-called Western literary canon that either numerous other writers equally deserve, or no writer ever could possibly deserve.
The effort that goes into making Shakespeare's twenty-first century legacy, though, is a half-assed one. So much illustrious praise and deification of the individual and his works, and yet not as much to understanding the context of his time and place, of his influences, forms, and impacts on the eras which proceeded him. Shakespeare seems to exist in a vacuum with his archaic language, and we read it once or twice in high school when we're forced to, with prosaic translations on the adjoining page. This does not inspire a true appreciation in a culture for Shakespeare but it does reinforce a stereotype that he must be somehow important. It's this shallow stereotype that makes it seem in many minds today that it would be worth it to rip the precise language out of the text of a poet, and spit back out an equivalent "modern translation."
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