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amynessblog · 2 years
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Reading “The Soul of Man Under Socialism” by Oscar Wilde
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nabongcomms · 10 months
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onlinebpsccoaching · 11 months
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68th BPSC Essay Paper and How to make new strategy for 69th BPSC Mains
In this video, we delve deep into the 68th BPSC Essay Paper to uncover its nuances and intricacies. We provide you with a new strategy for aspiring candidates preparing for the 69th BPSC Mains offers valuable insights and practical tips to enhance their chances of success.
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teapot-studies · 1 year
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Random writing tips that my history professor just told during class that are actually helpful
Download all your sources or print them so you can turn off your wifi
Give your phone to someone
Just. WRITE. Writing is analysing, you’ll get more ideas as you write. It doesn’t need to be perfect, for now you can just blurt out words and ideas randomly. You can fix it later.
Create a skeleton/structure before writing.
Stop before you get exhausted. It’s best to stop writing when you still have some energy and inspiration left, this will also motivate you to get started again next time.
Make a to do list
Work in bite sizes. Even if it’s not much, as long as you put some ideas on paper or do some editing.
Simple language =/= boring language, simple language = clear language.
Own your words. If they are not your words, state this clearly in the text, not just in the footnotes.
STOP BEFORE YOU GET EXHAUSTED. Listing it again because it’s easily one of the best tips a teacher has ever given me.
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starstrike · 3 months
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Mithrun's desire as an SA analogue
TW discussion of SA and detailed breakdown of aesthetics evoking SA. The way I discuss this is vivid in a way that may be triggering, though there is no discussion of actual sexual assault. Just survivor's responses to it.
People relate to Mithrun and see his condition as an analogue for a few different things, like brain injury or depression. And I think all of them are there. But I also see Mithrun's story as an SA analogue, and Ryoko Kui intentionally evokes those aesthetics. I think it's a part of Mithrun's character that a lot of people miss, but I very much consider it text. This is partially inspired by @heird99's post on what makes this scene so disturbing; so check out their post, too :)
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So to start off with, the demon invades Mithrun's bed, specifically. There's even a canopy around it, which specifically evokes this idea of personal intrusion; the barrier is being pulled apart without consent or warning. The way the hand reaches towards Mithrun's body from outside of the panel division makes it almost look like the goat stroking over his body. It's an especially creepy visual detail; similarly, the goat's right hand parts into the side of the panel as well. It's literally like it's tearing the page apart; but gently. So gently.
Mithrun is in bed. It is his bed that the demon is intruding on. He's in a position of intimacy. The woman behind him is a facsimile of his "beloved" that he left behind; the woman who, in reality, chose Mithrun's brother. He is in bed with his fantasy lover, who is leaning over him. While this scene isn't explicitly sexual, it is intimate. And it is being invaded. The goat lifts Mithrun gently, who is confused, but not yet struggling.
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The erotics of consumption and violence in Ryoko Kui's work(remember that the word 'erotic' can have many different meanings, please) are a... notable part of some of her illustrations. I would say she blurs the lines between all forms of desire: personal, sexual, gustatory and carnal, in her illustrations in order to emphasize the pure desire she wants to work with and evoke to serve her themes. Kui deploys sexual imagery in a lot of places in Dungeon Meshi, and this is one of them.
In this case, horrifically. The goat's assault begins with drooling, licking, and nuzzling. The goat could be enjoying and "playing with" its food. But it can also be interpreted as it "preparing" Mithrun with its tongue as it begins to literally breach Mithrun's body. The goat also invades directly through his clothing; that adds another level of disturbing to me. There's nothing Mithrun can do in this moment of violation. Mithrun is fighting, but he is fighting weakly, trying to grip on and push away when he has no ability or option to. All he can do is beg the goat to stop. And it doesn't care. This all evokes sexual assault.
The sixth panel demonstrates a somewhat sexual position, with Mithrun's thighs spread around the goat's hunched over body. In the next, the goat pulls and holds apart Mithrun's thighs as he nuzzles into him. The way the clothing bunches up looks a bit as if it has been pushed up. It has pinned Mithrun down onto the bed, into Mithrun's soft furs and pillows. It takes a place made to be supernaturally warm and comfortable, and violates it. It's utterly and intimately horrifying. To me, this sequence of positions directly evokes a rape scene. I think Kui did this very explicitly. These references to sexual invasion are part of what makes this scene so disturbing; albeit, to many viewers, subconsciously. It makes my skin crawl.
This is also the moment the goat takes Mithrun's eye. Other than this, the goat seems exceptionally strong, but also... gentle. It holds Mithrun's body tightly, but moves it around slowly. It doesn't need to hurt Mithrun physically. But in that moment, it takes Mithrun's eye. Blood seeps from a wound while an orifice that should not be pierced is penetrated. This moment, the ooze of blood in one place specifically, also evokes rape. That single bit of physical gore is a very powerful bit of imagery to me.
Finally; it is Mithrun's desire that is eaten. After his assault, Mithrun can find no pleasure in things that he once did. He is fully disassociated from his emotions. This is a common response to trauma, especially in the case of SA. It's not uncommon for people to never, or take a long time to, enjoy sex in the same way again; or at all. They might feel like their rapist has robbed them of a desire and pleasure they once had. I think this makes Mithrun's lack of desire a partial analogue for the trauma of sexual assault.
Mithrun's desire for revenge was, supposedly, all that remained. Anger at his assaulter, anger at every being that was like it; though, perhaps not anger. Devotion, in a way. To his cause. I don't know. But the immediate desire to seek revenge is another response to SA. But on to Mithrun's true feelings on the matter.
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This is... So incredibly tragic. Mithrun feels used up. Like his best parts have been taken away. Like he's being... tossed aside. This certainly parallels the way assault victims can feel after being left by an abuser. Or the way assault victims feel they might be "ruined" forever for other partners. These are common sentiments for survivors to carry, and need to overcome. In the text, it's almost like Mithrun feels the only being who can desire him is a demon who might "finish devouring" him. That that's his only use. It's worth noting that Mithrun trusted the demon. Mithrun's world was built by the demon, and Mithrun, in that way, was cared for by the demon. I think this reinforces Mithrun's place as a victim.
There's also something to be said about Mithrun as a victim of his own possessive romantic and sexual desire. The mirror shows him his beloved just dining with his brother, and it infuriates him. He doesn't know if the vision is real, nor if she has really chosen his brother as a romantic partner. The goat then creates a whole fantasy world where she loves him. As Mithrun's dungeon deteriorates, she is the only person that continues to exist. Mithrun continues to have control over her. And that is the strongest desire the demon is eating, isn't it? There's something interesting there, but I don't know what to say about it.
In conclusion, I think Mithrun's story is an explicit analogue for sexual assault-- though, certainly, among other things! The way the scene plays out and is composed explicitly references sexual violation and invasion of the body. His condition mirrors common trauma responses to sexual violence. And, at the end, he finally realizes he can recover.
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Let's end on a happy Mithrun, after taking the first step on his journey to recovery :) You aren't vegetable scraps Mithrun. But even if you were-- every single thing in this world has value. Even vegetable scraps.
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courtrecord · 10 months
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honestly i hate how that “maybe the curtains are just blue” post has become shorthand for anti-intellectualism and shit bc as someone who has an utter passion for media analysis now, I WAS THAT PERSON IN HIGH SCHOOL ENGLISH CLASS.
english class never taught me how to analyze stories, it taught me how to remember what things the teacher said were “symbolism” and how to take quizzes where we had to match a quote to the character who said it. i didn’t give a shit about any of it, bc literally why should i. it was bullshit.
there’s this idea online that people are forgetting or rejecting what they learned in english class when they’re bad at media analysis, and maybe that’s a little bit true, but i think the much bigger problem is they never learned it in the first place. cinemasins & “maybe the curtains are just blue” aren’t convincing people to abandon an intellectualism they already had, they’re filling a void.
when all you learn in high school is to write on the test “blue = depression”, why is it surprising that so many people don’t give a shit about the curtains.
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nartothelar · 9 months
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ugh
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dejwrld · 3 months
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the topic of colorism within the black community will never be understood until people understand that it's deeper than being bullied in high school and dating preferences.
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Shaping Your Futures
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hanhwrites · 2 years
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Me trying to write a paper about this relationship that is very heavily implied to be romantic (or the characters wanting it to be romantic) instead of platonic but they're also two dudes and my school only likes straight relationships
Fun
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Wednesday, May 4th 2022
You are not a wolf in sheep’s clothing, but a sheep in wolves clothing. You are a coward. Your truth is weak, deemed inadequate by even those within your circle. They see within you as if you were a glass house, one in which you’ve casted your own stones. 
You are not as perceptive as you say. You are blind. 
The enemy of my enemy is my friend, therefore your lack of acuteness to me is your most redeeming quality. The fact you are unaware of your weakness is a weakness in itself. Unintentional, indeed, however this is my greatest tool in my arsenal, and you’ve given it to me. 
Your lack of attendance is my weapon but coherently your biggest defence.
Ignorance is bliss.
My endgame is obstructed if I have nobody who understands. This is my weakness. I may die on this hill correct, but I may die on it alone. You may as well, but you wouldn’t realize you were lonesome, because you are blind…
So who really wins?
Despite you not being suitable, I cannot do anything. I am cornered by my own thoughts for you cannot comprehend them.  
Your dull-wittedness has won. Unfortunately.  
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kenny-power · 2 years
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how do i politely tell someone in a discussion board that their essay is the worst essay ive ever read in my entire life?
i hate peer reviews.
this man described an entire sex scene from a movie in his sociology paper & then has the audacity to turn around and say my paper had grammatical errors (it did not, i checked).
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sciderman · 3 months
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you know i'm kind of obsessed with the tragedy of gwen stacy in the tasm movies because she's - she's such an interesting, tragic creature. we get into it a little in tasm1, that. you know, her father is a police captain - you know, authoritative. incredibly protective of her.
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and looking at it, gwen is constantly the victim of men deciding what's best for her. her father decides it's best for her that she stay away from peter. peter decides it's best too, obviously, even though it hurts. it's not a question of what gwen wants.
thinking of the scene in tasm where gwen confides in peter, as she's cleaning his wounds, that she knows what this is - every day she sees her father strap a badge to his chest and she doesn't know if he's going to make it home or not.
gwen's powerless - she has these men in her life that she loves that are constantly making dangerous decisions that put their own lives in danger, and she's constantly expected to sit by passively and do nothing and pray for them to get home safely. like her own desires don't matter. she wants them to be there, she wants to have a say in what these men do, because she loves them and they're important to her. but she has no power. she knows that what they're doing is noble and good for the world, but she is sidelined and never listened to. she has no superpowers, no badge, and no say in the matter.
and her father gets killed. doing something stupid and heroic. and she wasn't involved, and she was powerless to prevent it. and even still, after his death, he's trying to push gwen out of the way of danger. strip her of agency in her own life. she can't be with peter. she doesn't get a say in the matter.
of course that doesn't work out, and peter and gwen wind up back together - but peter is eaten up with guilt, and still thinks he shouldn't be with gwen because gwen is safer without him, yadda yadda, and gwen is sick of it. gwen is sick of men dictating what becomes of her. what she can and can't have. where she should and shouldn't be. so.
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i always made fun of this bit of script - it's so, so funny.
"i break up with you peter. i break up with you."
i make fun of it all the time, but i get it. i get why it's written this way. the tasm2 script isn't subtle. gwen is pointedly telling peter that she is calling the shots. peter cannot dictate her fate. this is her choice. she breaks up with him. she is the one with power in this dynamic. she is taking the power. she is not his damsel that needs protecting. she is allowed to tell peter what she wants, and make her own decision about what's best for her.
cut to the end, where peter webs gwen to a car. he wants her out of the line of fire. even though she's proven she's helpful and capable, more so than peter. peter wants her out of harms way, so that he can do something heroic and dangerous.
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gwen is SICK of it!! she's going to be heroic and dangerous too. if these men can throw themselves into the line of fire with little care for the people they leave watching helplessly in the rafters than, by god, gwen can do it too. she's not going to watch helplessly as peter fights his battle on his horse, dick swinging, swords drawn. and she's not going to passively sit by as peter gets himself killed because actually, peter's not as smart as he thinks he is.
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he's just stupid enough to take the hits and scrape himself off the pavement afterwards. gwen is the one with the plan. and if gwen weren't there, peter might not have been able to pull everything off. he probably would've eventually taken them down in the end, but he would've definitely taken more of a beating, and more property damage, and potentially, more civilian casualties. it was a good thing gwen was there. female excellence. it's not always about who can take a hit.
of course, in the end up - gwen winds up in peril, and no. she doesn't have powers that can save her. and, these men who try and do everything to protect her - they're fallible. but it was her choice. her choice to do the heroic thing, despite her fragility. her choice to step into the line of fire, without super-strength or spider-reflexes. and i think it's a poetic, heroic way to go.
one thing though, that i feel is mismanaged, almost infuriatingly so – is how underdelivered on gwen's death as a heroic gesture. in the end it becomes more about peter's guilt than it does about gwen's sacrifice. because they still wanted to have the iconic "fall" scene from the comics. so, in the end, gwen becomes powerless. she's mid fall. she can't do anything. she has to wait for peter to save her, in the end.
it's infuriating because captain stacy's death is unfalteringly heroic. he dies to save peter.
gwen puts herself in the line of fire to save peter. in the same way her father did. but she's robbed of the heroic framing her father gets because in the end, she has to be saved. in the end, it isn't framed like she saved peter. it's framed like peter failed to save her.
so we get a peter parker pity party instead of actually, what should be a beautiful, heroic send-off for gwen stacy, who became a hero despite every man trying to sideline her.
tl;dr tasm gwen deserved the same heroic framing her father got but hollywood messed up again because they don't know how to do female hero stories
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I feel like a lot of writers don’t talk about academic writing burnout. Like….have I been writing? Yes, I have. Pages and pages. More than I’ve ever written.
But I haven’t written anything creative in weeks. My precious book wip collects dust because I cannot bring myself to write more than I already have. It’s an exhausting tug of war between feeling productive and feeling like you haven’t made any progress.
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nataliesscatorccio · 1 year
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this line in the description for Yellowjackets really gets to me. "25 years later, they discover that what began in the wild is far from over." time and time again im just struck by how effective this show is at saying exactly what it feels like to go through life as a woman. you still have this girl inside you who is wild and childish and scared. she doesn't know how to move her body she doesn't know how to ask for what she wants she's a freak she's an idol she's a mess she's a messiah she's a witch and a wicked little beast she's the best friend a girl could have. but it's time to be an Adult Woman now! congratulations, you're out of the woods! we know that was confusing and traumatic for you but rest assured thats all done. maybe you'll have a husband and a teenager of your own maybe you'll be a politician maybe you're going to run a mlm. it doesnt matter, just make sure you're unrecognizable from the wild animal you were. you're supposed to be unrecognizable. you're supposed to have it together, you're supposed to be boring. strawberry lube is for bisexuals and goths. and teenagers. Please be more boring. this Whole Thing this whole charade of adulthood doesn't work if you don't keep it together. grow up! so you do. for a while it sticks. your family is doing fine, your career is doing fine, your meds are working fine, maybe you've been to a few rehabs but this last one was going fine. and 25 years later you look around at the not-real life you're supposed to want to be a part of, the one you put together exactly as per the instructions, and you realize... it doesnt end. you aren't out of the woods you're just stranded in a different part of them. you probably have another 25 years to go, minimum. "I think shit is gonna get a lot worse out here." your life is far from over but you can't keep living it like this. numbing yourself with substances to make it tolerable, or going full speed ahead toward something you don't even really want just to prove you're Doing It you're Assimilating, or feeling insane for still being haunted by 'ancient' history that really didn't happen that long ago, or cooking a fucking meatloaf for the husband that doesn't get you and the daughter that doesn't want to. if you're going to survive the monotony of adulthood the way you survived the chaos of adolescence, you're going to have to get wild again. you're going to have to go back. because the wilderness can be terrifying with its harsh elements its cruel indifference its lurking predators and blah blah blah but do you want to know what's even scarier? that endless stretch in all directions of sameness. stump, tree, stream, moss. stump, tree, stream, moss. have we passed this way already, have we taken this route before? tree tree tree tree tree for miles and miles and miles. that is the wild, too. unending. repetitive. barren. where it ends, so do you. it lasts your whole life, and it's far from over. you've got to find a way to survive it. again.
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This teacher has no sense of humor or appreciation for creative writing. An F seems harsh, unless this was supposed to be technical writing. I'd like to read the rest of it.
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