kutyozh

[kutyozh]

helppp

Transcr.: Manchmal führt die Angst vor "falschen Freunden" dazu, korrekte fremdsprachliche Wendungen zu vermeiden oder als falsch anzusehen, nur weil sie große Ähnlichkeit mit vertrauten muttersprachlichen Formen haben. Man spricht in solchen Fällen zum Beispiel von "scheindeutschem Englisch". Dies sind also englische Wortwendungen, die wie deutsch klingen aber dennoch korrektes Englisch darstellen. Beispiele: hefty rainstorm "heftiger Regen", a lousy delivery service "ein lausiger Lieferservice", we sit in the same boat "wir sitzen im gleichen Boot", to be in the picture "im Bilde sein, informiert sein".

[kutyozh]

It is the second job of literature to create myth. But its first job is to destroy it.

Kenzaburō Ōe, Japanese novelist and Nobel laureate in literature at a symposium of Nobel Laureates, quoted by Mary Ruefle in Madness, Rack, and Honey

[kutyozh]

we fight for at least one generation of Ukrainians of the last several centuries to be free from russia

[kutyozh]

[ID: messages by user ashtown that read:

sometimes no la is all you've got as a response it's like no <3 but more ben affleck smoking meme

/end ID]

cheers to the cantoglish texters out there

[kutyozh]

they call refugees 'greedy' for fleeing here meanwhile my friend (a refugee) dreams of going back to greece one day to pay his 30€ groceries that he had to grab and run back then bc police suddenly turned up

[kutyozh]

[kutyozh]

do you listen to my spotify links. have you listened to my spotify links. will you listen to my spotify links. when will you listen to my spotify links

[kutyozh]

I feel like a cuckoo my entire family is really working class lots of blue collar jobs and stuff and I'm like sorry I have a Weak Constitution and Two Left Hands and now I'm building my nest in the walls of the ivory tower

[kutyozh]

"Schiele paints what Kafka dares to write: the soul, caught mid-exit from the collapsing architecture of the flesh. The silence of Schiele’s paintings echo the inky words of Kafka, as if Schiele’s paintbrush and Kafka’s pen were touching opposite sides of the same wound. And yet, what fascinates me most is not just how Kafka and Schiele expose the rupture between body and self, but the difference in how they respond to the shame it brings. Kafka turns inward. He tries to vanish into language, to dissolve into the walls of his prose. His characters shrink, fold into themselves, dissolve, wither — devoured not just by the world but by their own self-disgust. His response to shame is silence, erasure, disappearance. But Schiele does the opposite — he confronts shame with brutal visibility. He drags it into the light, paints it in trembling lines and raw color, and then dares us to look at it — at him. His figures do not hide their distortion — they weaponize it. They do not avert their eyes; they catch ours. They demand to be seen, even in their distortion, and especially in their nakedness."

Portrait of a Body in Revolt: Schiele and Kafka, Tathev Simonyan

[kutyozh]

So do you think anybody is going acknowledge that Hind Rajab should have been celebrating her 7th birthday today with her family? Do you think anybody is going to acknowledge that?

[kutyozh]

“Why didn’t we put Stalin on trial? I’ll tell you why… In order to condemn Stalin, you’d have to condemn your friends and relatives along with him. The people closest to you. I’ll tell you about my own family. My father was arrested in 1937 and, thank God, came back after doing ten years in the camps. He returned eager to live. He himself was amazed that he still wanted to after everything that he’d seen. This wasn’t the case with everyone, not by a long shot…My generation grew up with fathers who’d either returned from the camps or the war. The only thing they could tell us about was violence. Death. They rarely laughed and were mostly silent. They drank…and drank…until they finally drank themselves to death. The other option…the people who were never arrested spent their whole lives fearing arrest. This wouldn’t be for a month or two, it would go on for years—years! And if they didn’t get time, they’d wonder, “Why did they arrest everybody but me? What am I doing wrong?” They could put you in prison or they could put you to work for the NKVD. The party requests, the party commands. It’s not a pleasant choice to have to make, but many were forced to make it. As for the executioners…the everyday ones, not the monsters… our neighbor Yuri turned out to have been the one who informed on my father. For nothing, as my mother would say. I was seven. Yuri would take me and his kids fishing and horseback riding. He’d mend our fence. You end up with a completely different picture of what an executioner is like—just a regular person, even a decent one…a normal guy…They arrested my father, then a few months later, they took his brother. When Yeltsin came to power, I got a copy of his file, which included several informants’ reports. It turned out that one of them had been written by Aunt Olga…his niece. A beautiful woman, full of joy…a good singer…By the time I found out, she was already old. I asked her, “Aunt Olga, tell me about 1937.” “That was the happiest year of my life. I was in love.” My father’s brother never returned. Vanished. We still don’t know whether it was in jail or the camps. It was hard for me, but I asked her the question that had been tormenting me, “Aunt Olga, why did you do it?” “Show me an honest person who survived Stalin’s time.” [He is silent.] Then there was Uncle Pavel who served in the NKVD in Siberia…When it comes down to it, there is no such thing as chemically pure evil. It’s not just Stalin and Beria, it’s also our neighbor Yuri and beautiful Aunt Olga.”

—

Secondhand Time: The Last of the Soviets

Svetlana Alexievich and Bela Shayevich

[kutyozh]

okay I’ll say it nicer:

australia was colonised according to the myth of terra nullius (or empty land). ever since the very early days of colonialism, the land has been framed as something untameable and unliveable. this has justified acts of violence against the first peoples here, in that they are seen as non-people. it has justified the destruction of sacred land in the goal of making australia look more european. (an example: our capital city contains a man-made lake that is now nothing better than a fetid carp pond. it’s disgusting and unnatural). basically, the idea of “taming australia’ has justified endless harm

“everything in australia is weird and dangerous” is not just some silly meme phrase, it is something that arcs back to the very beginning of white settlers laying claim to ‘australia’. and personally I am very sick of seeing it thrown around like it means nothing

[kutyozh]

A short explanation of my layer by layer drawing of Central/Eastern Ukrainian folk attire, for anyone who might be interested.

[kutyozh]

imo sharing your art for free online for strangers to see it requires a lot of courage. A lot of mental strength. Im being serious rn i think if youve ever shared anything online and even if its not popular even if only a few people have seen it i think thats very very brave

[kutyozh]

actually last post is similar to how ppl will go "yeah white americans don't really have any culture" in an allegedly self aware way that actually just screams "unable to conceptualise the culture they live in as anything other than the neutral default".

"Yeah i guess we don't really have any strong culture" and then they'll talk about homecoming as if you're supposed to know what that means (except you do because of how dominant their cultural export is)

[kutyozh]

I went to an exhibition on the history of migration and colonial rhetoric in Australia and it really helped me to pinpoint my exact issue with the way non-Australians (and. tbh. some aussies) talk about this country

this map is a piece of propaganda from 1921. honestly what shocked me about it was how little of Australia is marked out as “uninhabited”. I have seen maps shared around on this website that basically mark out the entirety of non-coastal Australia as “empty”. fucking colonialists from 1921 were more generous than some of you

the history of colonial Australia is a history of “taming the untameable land”. this has been reinforced through narratives that this country is:

inherently dangerous

uninhabitable

empty

this rhetoric survives in both the way Australia is imagined by non-Australians and in the self-image of Australia. the (white) aussie battler conquers the unconquerable. the outback is imagined as a post-apocalyptic hellscape. our fauna is categorised as uniquely hellish and unwieldy. so when non-Australians make joke after joke about how scared they are of this place. well you can imagine why it fills me with the kind of rage that can only be generated by the understanding that You Are Reinforcing Colonialism