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Need something edited?

I recently graduated with my English degree and was a writing tutor for two years. I can look over any kind of writing (essays, creative works, even resumes or important emails). If you’re working on an essay, I also know all the common citation styles.

I’m temporarily out of work due to COVID19 and could use a little extra cash.

$10 per thousand words.

If you’d like an extra long piece edited, just message me and I’ll get you a discounted rate.

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hey satan! you’re super smart, do you have any tips for writing assignments? i have to write a 400 word critical evaluation of descartes first meditation and i’m kinda stumped haha...

I may suggest reading over Meditation of the First Philosophy, the book contains presentation of Descartes' metaphysical  system in a very detailed way. This may help with your writer block per say, take notes on things you wish to include. Organise your notes into a flow of understanding and then you should be able to connect them into your essay. Grammar is important, 400 words should be easy to attain. Thoroughly dissect all your findings (figure of speach) and then explain them in just as detailed.

I’d be most interested in reading after you’ve submitted your essay.

🐱 Satan

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Writing an essay for a class you’re not in

With classes going online I now have to write essays for my Wind Ensemble course. Thing is…I’m a social science major. My professor is saying this is one of his favorite pieces that we have to write about and that it’s not an easy piece to “digest”. I do not have the musician vocabulary for a college level paper on a music piece someone with a doctorate says is “the most hauntingly beautiful works ever composed”.

I didn’t even know what ostenato meant until I looked it up today.

Anyone got tips or their own essay horror stories?

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Did you know? #2

In Sommerheim, there’s a reason why 1800s fashion already appeared even though the story was set in the 18th century.

The reason is simple; in this story, Sommerheim’s fashion was known to be very ahead of its time, and considered progressive. It’s already common for women to wear pants, tight-laced corsets already existed, and those huge hoop-skirt dresses were all the rage. Sommerheim was a very modern kingdom at the time. It’s not because I “didn’t do my research enough” or “ignorant”…

It’s on purpose. I know damn well what I was doing.

Sommerheim’s modern fashion and culture is a way for me to make a statement that this kingdom is frequently one step ahead from other places, be it laws, humane treatment, worker’s rights, even fashion.

So what is known as the Victorian era in real-life, is known as the Odeyean era in this story. Named after the person who inspired and oversaw the changes in history.

Alexandrine also had an era named after her; the 1600s, and it’s the Alexandrian era. One of the most culturally and educationally enlightened eras in Sommerheim history, maybe even the world.

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Some details I forgot about Philippe and Camila that I neglected to write down in my essay about him:

Philippe, upon birth, as he was the heir presumptive, he was given the title of the Duke of Lysle. He held this dukedom until he was 13, around the time his older brother died, and he was formally proclaimed as the new crown prince; the Prince of Cardia, and was given his brother’s old dukedom of Vernattville.

All heirs to the throne are always given the mandatory title of the Prince of Cardia, and it’s always tradition for the crown prince(ss) to be the Duke of Vernattville. This means that yes, Camila was also Duchess of Vernattville during her tenure as heir apparent to the throne.

To say this simply, Philippe and Camila’s full titles as heirs:

His Royal Highness Crown Prince Philippe, the Prince of Cardia and the Duke of Vernattville

and

Her Royal Highness Crown Princess Camila, the Princess of Cardia and the Duchess of Vernattville, (along with the additional new title of) and the Honourable Lady of Aibreann.

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Did you know?

As crown prince, Philippe narrowly escaped death a few times. But one of the most well-known incidents in Sommerheim, was the time he avoided death by a sinking ship.

During his tenure as heir to the throne, Philippe was required to serve in the navy for at least four years, as male heirs have to serve a mandatory term in the navy. Royals cannot serve in the ground army, but they are very encouraged to serve in the naval army.

One day, Philippe was supposed to go with the HMS Vernattville as a midshipman to patrol the Sommerheiman seas for two weeks. But however, the HMS Astoria (yes, named after Philippe’s late mother), needed crews and being the prince, Philippe was given the freedom to choose between Vernattville or Astoria. Probably harbouring some devotion and attachment to his mother, he chose to volunteer to serve in the HMS Astoria instead. And fate seemed to be on Philippe’s side that day, as the HMS Vernattville encountered a harsh, unforgiving storm, and didn’t survive. The ship sank, and from 120 crew members onboard, only ten survived.

This incident sent King Henry II, Philippe’s father into a state of paranoia and nearing a nervous breakdown. Ever since Magnus, Philippe’s older brother and original heir to the throne, died, Henry was extremely overprotective of Philippe, and sort of overbearing, as he was afraid to lose his only surviving son. Henry didn’t hesitate and immediately ordered Philippe’s honourable discharge from the navy. Although disappointed, Philippe gracefully accepted it and went back home to the palace.

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Covid_19 Must Change “The Normal” You’re So Looking Forward to Get Back To

This pandemic had no precedent, in any of our lifetimes, not from the countless 70, 80, or 90 year old lives whose longevity was abruptly cut by the virus, and certainly not from any of the younger victims. We are all at grips, or in fear, or perhaps so high (or so low) in boredom that all we can think of, or wish for right now, is for everything to be back to “normal”.


The impact of this pandemic is vast. The economy, of ours, and that of the world will be reeling from it, and the timeline to recovery may be hard to see from now. The showing, of how world governments are either able, or barely able to rise to the enormity of the virus’s power, is a revelation of how attuned they are to their mandate of protecting, and serving the interest of their people. The US, facing the onslaught of impact, is currently rife with news that two Republican Senators sold millions of stock after a classified brief on the virus, before any government body is able to put protective measures in place for Americans. In the Philippines, social media has made known to its citizens through a message from a doctor in the frontlines of its medical effort, that politicians are personally asking the Department of Health to have them tested (in the clear and world known fact, of the country’s lack of testing kits) at the comfort of their own home.


The pandemic is not only revealing the supremacy of nature’s order, it is also revealing how we are all vulnerable to its force, regardless of technological advancement. What makes us even more susceptible to the darker side of nature’s power is our obvious stubbornness in consciously respecting, and not breaching the boundaries it has set.


If you’re still somehow existing under the notion that we each have our world, and that every culture and country has it’s own shit, your quarantine period is the best occasion for you to come to the realization that - We. Are. All. Connected. The world is interconnected, and more so now, than ever in its history. What originated from a quaint and lively city called Wuhan, can present itself right at your doorstep, in very tiny form, but with massive consequences. And the reason for the consequence being massive, is quite simply because it’s not supposed to get there. There are cells, microbes, and elements that are meant to keep themselves where they are, in harmonious coexistence with ours, and yet we keep messing with their space. We keep extracting from every creation with no regard for the balance and order that Mother Nature will always be queen and ruler of.


That - has been our “normal”. As our daily grind churned and turned, our consciousness of that order has become dimmer than our own ability to recognize our privilege. We like posts and affirmatively comment on the need to save nature and the planet, but I bet you were not ready to fully meet the effect of humanity’s collective stubbornness. Just like to a petulant child, Mother Nature yelled, all of a sudden, like she never had before “Go to your room! And you are not going out until I tell you to!” She’s had enough of your disrespect and took a time out. One that none of us were ready for - a lockdown, or what a certain inept regime called a community quarantine. And while you’re proudly amusing yourself with TikTok, cleaning house like your life depended on it, or silently internalizing that strange feeling that things have suddenly shifted, guess what Mother Nature has been up to? She’s healing. The air quality is getting better, water in rivers and lakes are getting clearer, animals are wandering about where they couldn’t. She gets her way, even through humanity’s brazen disrespect for her space, only this time, she armed herself - with a Covid19.


And here you are, in an imposed state of immobility. Very close to stopping from counting the days of your WFH, and probably running out of ideas and the will to “make the most out of it” if you’re even trying. You just want to “get back to normal” soon. Honey - No one should get back to normal. Everyone, from this point on, must live their lives in fear of what Mother Nature will arm herself with next, when she gets fed up with our “normal”. If you’re not considering how it is that you can help, or what it is that you should stop consuming, (that’s being extracted from nature) or what new practices you should be doing to align yourself to the order she has set, let the change to your normal start there. Change it, because it is far better for our “normal” to be changed, rather than nature’s, Covid19 is a loud and clear evidence of that. It’s her house, her rules, and it will remain hers long after all of us are gone. Our best bet to having a decent stay while we’re in it, is to give her the respect she deserves.

By Advocata Nostra

Earth Visitor. Human. Advocate.

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dorothy parker
I could count the things I didn’t do yesterday that I should have done.  I could count the things I should do today that I’m not going to do.  I’m never going to accomplish anything; that’s perfectly clear to me.  I’m never going to be famous.  My name will never be writ large on the roster of Those Who Do Things.  I don’t do anything.  Not one single thing.  I used to bite my nails, but I don’t even do that any more.  I don’t amount to the powder to blow me to hell.
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Pretty in pink, that’s how you could describe Calypso’s work. Minus the pretty part. Juno Calypso, the 1989 London born photographer began to make her debut into the art world whilst attending the London College of Communication in 2012 where she graduated with a BA in Photography. There she took pictures of her alter-ego, ‘Joyce’ an abstract character that over time has become a symbol for the constructed hyper-feminine.

Calypso’s works are so captivating because of the contrast between visuals and atmosphere that she creates, I believe that it is this that makes her images have somewhat of a comedic element in them, rooted from the oddness of the scenarios. In these works, you see this poised figure that experiments in the safety of her isolation towards a goal of beauty in these pastel surroundings that are completely cut from all external factors of reality. When described as a “fantasy” Calypso describes her work for short, in a single image you’re drawn to the self-alienation in it, through the desire that’s met with disappointing loneliness. In her cinematic pieces, emotions are taken to the extreme and you can clearly see the development of ‘Joyce’ when her work is presented chronologically.

In her works, Calypso often strips naked and covers herself in pastel green or blue from head to toe, and while doing she’s been judged as a bad feminist for exhibiting so much of her body, The works that exhibit her body, especially her 2016 ‘A dream in green’, eroticise the female form while at the same time tear down refined expectations of women and that to me counts as feminist. Through the simple fact that feminism advocates for the equality of the sexes in all aspects, even sexual. Then a woman using her body for the sake of art is a form of protest against the patriarchal expectation that women have to cover themselves from the gaze of men while men are not held to the same standard of judgement.

When looking for inspiration Calypso goes to online stores like eBay and with keywords like “sexy”, “pink” and “mask” goes through all of the departments from hair and makeup to gadgets. I can’t comprehend how modern femininity can be summarised by those three words or even the mere fact that a woman can abstruse femininity from personal events into a laboured, uncomfortable concept that mandates beauty, it’s saddening and it shows a lot on how women are still treated in the 21st century. They’re forced to achieve beauty through visual perfection in petrifying fear of rejection. Baited into thinking that idiotic masks, peels, creams, pills and weight-loss vibrators, just to name a few, will make them desirable only to then be judged for using them in the first place.

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Originally posted by papermagazine

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Ви прогавили революцію фанфіків. Поки ви спали, фанфікери перевинайшли літературу.

Спочатку кілька визначень. Відповідно до англомовної вікі, фанфікшн або фанфіки - це вид літератури, що створюється фанатами іншого твору мистецтва, використовуючи представлених там персонажів, місця та події в якості матеріалу для власних творів. При цьому усі факти сюжету та сам оригінальний твір прийнято називати каноном, а авторів фанфіків кличуть фанфікерами. Оріджинал - це жанр фанфіків, що не засновані на жодному іншому авторському творі.

Перш за все, ви мали б схопити мене за руку, та спитати, чому я назвав оріджинали жанром фанфікшну, якщо їх визначення протиречать одне одному? З кількох причин. По-перше, зверніть увагу на те, що визначення оріджиналу нічим не відрізняється від “звичайної” літератури, до якої ми звикли. А проте в цьому випадку ми маємо окремий стійкий термін. По-друге, ориджінали прийнято публікувати в тих же середовищах, що й фанфіки. В таких середовищах, як правило, ориджінал вважається жанром нарівні з іншими жанрами фанфіків. Крім того, слово “оріджинал” рідко використовується щодо канонів, хоча канони, безумовно, повноцінно відповідають його визначенню.

Причини появи ориджіналів зрозумілі. Рано чи пізно, творча наснага спонукає фанфікерів описати події та персонажів, покликаних на світ дією суто власної фантазії. Проте, що кидається в очі, то це розмежування між “звичайною” літературою та оріджиналом, бажання зберегти свої твори в колі фанфікшну. Фанфікер не переводить свій оріджинал в коло “звичайної” літератури, і при цьому не вводить “звичайну” літературу в коло фанфікшну, називаючи оріджиналом - тільки в якості канону (тобто, пишучи фанфік на цей твір). Це не окремішність оріджиналів, це окремішність фанфікного середовища. Фактично, маємо певний медіум, що не вважає себе частиною більшої літератури, і при цьому прагне охопити більшість її проявів для власної різноманітності. І це найважливіше, що ми маємо з'ясувати про фанфікшн.

Зауважте: фанфік як явище не є породженням сучасності. Ми можемо вивести його появу з античних часів, більш того, можемо навіть припустити, що в певні епохи перевикористання персонажів та сюжетів заохочувалось. Проте твори фанфікерів старіших епох ніяк не вирізнялись з-посеред інших творів. Говорячи про фанфікшн сьогодні, ми мусимо вказувати на окрему, досить широку субкультуру. Субкультуру, що розробила власну, досить розгалужену термінологію, жанрову специфіку, методологію написання (не оригінальну, проте досить послідовну) та послуговується усталеною системою вікового рейтингу та контент-попереджень. Стійкість форм та ідей такої літератури й дозволило встановити окрему назву “фанфік” замість поодинокої характеристики “за мотивами”.

Тепер оригінальна література бере новий зачин всередині фікерської літератури у вигляді оріджиналів. Чи не додає це їй нових якостей?

Між фанфіком та каноном завжди існує певна підпорядкованість. Щонайменше, причинна: щоб існував фанфік, повинен існувати канон. Додатково фанфікер не може привласнити свій твір повністю собі, оскільки користується інтелектуальним надбанням іншого автору, і в цьому сенсі є залежним від нього, умовно - займає нижчу щабель щодо автору канону. Завдяки цьому створюється ситуація, коли автор канону більш іменитий, ніж спільнота авторів фанфіків до його творів.

Безумовно, суть фанфіку перш за все в тому, щоб змінити (доповнення можна розглядати і як зміну*) канон, проте сам канон виноситься за коло фанфікшну, і отже за автором канону ніби визнається право на його твір. В той же час оріджинал породжується всередині медіуму фанфікшну. По-перше, це автоматично зрівнює автора оріджиналу з будь-яким автором, що хотів би написати фанфік на його твір. По-друге, оріджинал при цьому проходить усі типові стадії розвитку фанфіку всередині фікерського середовища (бета-читання тощо).

Юридично автор оріджиналу зберігає за собою права на інтелектуальну власність, що відповідні авторам фанфікних канонів. Проте, з творчої точки зору, автор оріджиналу не займає унікального положення щодо інших авторів, особливо всередині своєї спільноти. Що це означає?

Наразі сказати складно, позаяк, наскільки я розумію, фанфіки за оріджиналами не є розповсюдженим явищем (ймовірно, це питання заслуговує окремого розгляду). Проте, якщо трохи продовжити думку, чи не можемо ми очікувати зародження колективного автору в ситуації, коли значення канонів (позафікерської літератури) почне зменшуватись?

Щось подібне ми вже можемо спостерігати на прикладі творчості Говарда Лавкрафта та Августа Дерлета, Френка Лонга й інших. Безумовно, усі автори визнавали оригінальну думку та першість Лавкрафта в питаннях міфів Ктулху (як, я думаю, без сумнівів і будь-який фанфікер визнаватиме першість свого колеги), проте рівність між згаданими авторами перенесла міфи Ктулху з кола особистих в коло спільних надбань (і в такому вигляді вони розглядаються багатьма спеціалістами). Мені спадає на думку, що унікальна роль Лавкрафта частково позначена і його належністю до “звичайної” літератури, в середовищі якої взагалі надзвичайно поціновується першість та індивідуальність. Якби Лавкрафт був фанфікером, ймовірно, він міг би навіть не бути найбільш відмітним автором ктулхіани.

Публікація оріджиналів в спільнотах фанфікшну не дивує. Вона має багато переваг. Перш за все, це досить зручний майданчик для збирання аудиторії. По-друге, легко зрозуміти бажання показати оригінальний твір колегам-фанфікерам. Але неможливо обійти стороною те, що фанфікери, пишучи ориджінали, не породжують окремих спільнот, присвячених оригінальній літературі, що могло б підтримати логіку використання терміну фанфік. Називати оріджинал фанфіком це ніби відмовлятись грати в “ту”, “іншу” літературу.

* Деякі твори побудовані за принципом “сказано лише те, що сказано”. Отже, доповнення може порушити оригінальний задум або внести небажані (автором оригіналу) елементи.

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Self-isolation day No. 14

I studied all day long in my tiny room. I wrote 2 essays, made a presentation about the Beemster and read a study about the gender roles in the philosophy of language. I’m so freaking exhausted right now.

Ik studeerde - I studied

hele dag lang - all day long

Ik ben uitgeput - I am exhausted

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The Tradegy of Vine

Fan content is one of the hardest things to preserve. It’s easy on larger websites like Instagram, Tumblr, Twitter, and YouTube. However with Vine we lost THOUSANDS of fan edits. We will never EVER get them back. On Vine, there’s only the popular vines left on the website. Those fan edits, hell the whole culture of fan editing on Vine is LOST.

Of course there’s people who saved those edits and others who uploaded on other platforms. Many of those editors moved on to Instagram and YouTube. The culture of fan editing on Vine is distinctly different as all websites are. So many new fandoms will never get to experience the beauty of it. Vine cultivated the short edit when Instagram was barely on trend with it.

So yeah as you can see, I’m still not over Vine. I hope you all see Vine as somewhat of a warning about peserving the culture you all cultivate. You may not realize this now, but you all are creating fandom history with your actions. We don’t want to lose that.

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SCP is a strange thing. You love how impossible and inexplicable it all is, but you can’t help digging in and trying to figure it out anyway.

The way it draws you in is almost… paradoxical…

Let’s figure out how that works

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