#Endnotes

[aelitalove]

¹ Footnotes add sources or further information to the bottom of the page it is referenced on

² Endnotes add sources or further information to the end of the chapter its referenced, or end of book in a dedicated Notes section

³ If you have no strong feelings about these then that's cool too, please add what you are currently reading regardless of your answer to the tags : )

[etudiantfantome]

"The mistake of the theorists of the labour movement was as follows. They often described capitalist social relations in terms of a foundational fracturing: the separation of peasants from the land generated a propertyless proletariat. However, the class relation is not only established through a foundational fracturing; it also confirms that fracturing in every moment. Capitalism realises the fracturing of social existence as the “unity-in-separation” of market society, an interdependence of everyone on everyone else, which nevertheless reduces individuals to isolated atoms, facing off against one another in market competition. This is especially true for proletarians, whose very survival depends on competing with other proletarians, and who therefore face the most barriers to collective organisation (as we have argued elsewhere, it is not the eventual decline of working class identity, but rather its emergence despite these barriers, which needs to be explained)."

A history of separation

[solemnswearings]

dude i was scrolling through my notes and found whole ass end notes i was going to add to the most recent chapter i posted but that i forgot abt 🤦‍♀️. goddamnit 😭

[cynicalclassicist]

I find endnotes quite annoying myself sometimes, having to go all the way to the back!

What no one warned me about when I got into Discworld is that Terry Pratchett would completely ruin all my future footnote experiences. Now, whenever I read a book (even if it is an academic text!!) and see a superscripted number, my monkey brain makes my eyes drop to the bottom of the page asap, expecting a funny, poignant, memorable, and potentially life-altering little treat, and instead I get hit every time with the soul-crushing disappointment of McFarthy, G. et al. (1997)

[bloseroseone]

Footnote vs. Endnote: What’s the Difference and When to Use Each?

When writing academic papers, books, or research materials, appropriate citation is essential. Footnotes and endnotes are useful tools for adding more information, identifying sources, and assuring clarity. But what’s the difference between them, and when should you utilize which? This essay will explain the fundamental distinctions, benefits, and best practices for using footnotes and endnotes effectively.

Understanding Footnotes

Definition of Footnotes

Footnotes are references or additional information that appear at the bottom of a page. They are identified with superscript numerals in the main text and correlate to numbered entries in the page’s footer.....Continue reading

[xonethousandcriesx]

»The factory system, in itself, did not tend to unify the workforce in a way that benefited workers engaged in struggle — or, at least, it did not do that exclusively. Capitalist development may have dissolved some pre-existing differences among workers, but it reinforced or created other divisions, especially as these emerged from the division of labour (that is, mostly around skill, but also around divisions of tasks by “race” and gender, as well as according to seniority, language, region of origin, etc). Meanwhile, outside of the factory gates, workers continued to stand in conflict with one another. They had to look out for themselves, as well as their kin: “Similarity of class position does not necessarily result in solidarity since the interests which workers share are precisely those which put them in competition with one another, primarily as they bid down wages in quest of employment”. Given that there were never enough jobs for everyone (the existence of a surplus population was a structural feature of societies built around capitalist exploitation), allegiances of religion, “race”, and “nation” made it possible for some workers to get ahead at the expense of others. As long as workers were not already organised on a class basis — and there was no pre-given, structural necessity for them to be so organised — they had a real interest in maintaining their individuality, as well as their extra-class allegiances. This was the melée into which the workers’ movement threw itself. The movement encouraged workers to forget their specificity and all that supposedly came from the past. Workers should turn their gaze towards the future; they should actively merge into the generality of the collective worker. Here was the essence of the workers’ movement. Trade unions and chambers of labour, as well as social organisations, brought proletarians together on the basis of trades, neighbourhoods or hobbies. A general workers’ interest was then cobbled together out of these local organisations. The Social Democratic and Communist parties and the Anarchist federations instantiated the collective worker at the national level.« (Endnotes 4, A History of Separation, p. 99)

[fmk-polls]

FMK: footnotes, endnotes, bibliography

[rennipark12]

Footnote or Endnote: Understanding the Purpose and Differences

Introduction:

In academic and professional writing, proper citation and referencing are crucial to maintain the integrity of the work and give credit to the sources used. Footnotes and endnotes are two common methods employed for this purpose. This blog will explore the purpose and differences between footnotes and endnotes, learn how to cite them, discuss their advantages, and understand why they are essential in scholarly writing.

Footnotes vs. Endnotes: Footnotes and endnotes both offer additional information or citations within documents. Their primary distinction lies in placement. Footnotes are typically added after paragraph breaks, while endnotes should follow them immediately at the bottom.

Footnotes: Footnotes are placed at the bottom of a page directly below its main content and used to provide explanations, references, or additional comments without disrupting its flow.

Endnotes: Unlike footnotes, endnotes appear at the end of a document after all major sections and appendices have been reviewed and completed. They perform the same function but in an easier-to-digest form.

Purpose of Footnotes and Endnotes: Both footnotes and endnotes serve several essential purposes in academic and professional writing:

Attribution: They allow writers to provide proper credit to the original sources, avoiding plagiarism.

Additional Information: Footnotes and endnotes allow writers to elaborate on certain points or provide background information without cluttering the main text.

Source Verification: By including references in footnotes or endnotes, readers can easily verify the sources and delve deeper into the topic if desired.

How to Cite Footnotes and Endnotes: Citing footnotes and endnotes correctly is essential to maintain the work’s credibility. The citation format may vary depending on the style guide (e.g., APA, MLA, Chicago). However, a general format for citing a book in a footnote/endnote is as follows:

Footnote: Author’s First and Last Name, Book Title (Place of Publication: Publisher, Year), page number.

Endnote: Same as the footnote, but collected at the end of the document.

Advantages of Using Footnotes: Footnotes offer some distinct advantages in scholarly writing:

Enhanced Readability: Footnotes keep the main text clean and uncluttered, providing a seamless reading experience.

Easy Reference: Readers can quickly check the sources and additional information without flipping to the end of the document.

Supplementary Content: Footnotes allow writers to add context or digress from the primary topic without losing the flow of the main co

Conclusion

In conclusion, footnotes and endnotes are valuable tools in academic and professional writing, aiding in proper citation, source verification, and information supplementation. The choice between footnotes and endnotes often depends on the writer’s preference and the project’s specific requirements. By understanding their purposes and differences, writers can use footnotes and endnotes effectively to enhance the quality and credibility of their work.

To explore the art of scholarly writing and academic publishing, visit manuscriptedit.com. Stay informed and refine your writing skills to become a successful author or researcher.

[theeditorandnarratorcollaborate]

"Ross Gay: In Praise of (Foot- End- Etc.) Notes"

To my delight I found that McKittrick’s book is thoroughly footnoted, not only in a standard bibliographical way, though some of that, but in a digressive, contrapuntal, sub-argumentative way. By which I mean, quick glance here, it appears as though some of these footnotes are miniature essays, essayettes, which I’m sure complicate, deepen, twist up, who knows, the text. Occasionally these…

[etudiantfantome]

"This is what we mean when we say that class consciousness, today, can only be consciousness of capital. In the fight for their lives, proletarians must destroy that which separates them. In capitalism, that which separates them is also what unites them: the market is both their atomization and their interdependence. It is the consciousness of capital as our unity-in-separation that allows us to posit from within existing conditions – even if only as a photographic negative – humanity’s capacity for communism."

LA theses

[trungles]

Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

[kvetchinglyneurotic]

so it turns out that not only did historical james fitzjames say the "best walker in the service" thing (to john barrow jr) but he specifically said it in the context of. planning to walk to the pole in the middle of the arctic winter. james i do not think that is a good idea

(from may we be spared to meet on earth)

[vinelark]

Congrats on the conclusion of bbts!! I read it the whole way through in like two days and loved it! I'm so here for the Drama, but I appreciate that the conflict came more from the situation they found themselves in over questionable choices that they made. They were honest with each other and it's a nice take, and the cards still would have fallen the way they did if things were a little different, and they still had the strong connection needed to make everything right in the end.

Question: is there a translation for the Portuguese attached anywhere to the fic? I was hoping it would be in the end notes for the chapter and sadly my meager Spanish is not doing enough heavy lifting to make it, haha. Love your writing!

thank you! i’m so glad you enjoyed and that the flavor of misunderstanding worked for you. they’re so smart and young and trying their best and they got there in the end.

re: translation: i did not attach a translation to the fic! happy to share it here though. the bolded dialogue below is what i shared with @tigerjpg, who not only translated it but also guest stars in this scene as the unimpressed churro truck vendor.

◇

The smell of cinnamon and fried dough hangs in the air, warming it, and when they reach the window the employee is loading churros into a paper bag.

“The usual, right?” they ask. They’re young, short-haired, cheeks and neck flushed from the heat of the fryer inside the truck. Kon recognizes them from the last time he was here with Clark; they’d spoken rapid-fire Portuguese to Kon like they were testing to see if Superman being a polyglot was just a fluke, and seemed pleased when Kon answered in kind. (He didn’t tell them that he wasn’t actually like Superman in this regard—that Clark mastered language by learning at high speed, but he still learned, while Kon had his language settings pre-loaded before he opened his eyes. That Kon had overused certain phrases he picked up from TV his first few months, English still shaped strangely on his tongue as he tried to make the words feel like his. But at least having a few thousand Duolingo owls in his brain made for a good party trick sometimes.)

“Yes, please,” Kon says now as they set the bag on the counter. “Sorry if we kept you late.”

“Barely,” they tell him, waving away his concern with one hand and shaking open a second bag with the other. “Anyway, we get bonus overtime if one of you shows up, so you’re basically doing me a favor.”

Well, nice to know eating churros can count toward his good deed tally, if they really get a bonus when a super swings by. Speaking of— “Oh,” Kon says, rummaging through his thigh pouch. Clark always leaves a little tip in the jar. Kon usually carries an assortment of currencies—Robin’s idea for standard mission ancillary supplies—but, damn, he left that billfold at the Tower a few nights ago. All he has are a few US $20s and the Titans emergency card. He holds up the bills. “Can I give you these?”

The employee raises an eyebrow. “Your boyfriend already tipped.”

Kon blinks. He hadn’t seen Tim move, but there is indeed a fresh hundred-euro note in the tip jar. Kon and the employee both turn to Tim, who is very intently studying the chalkboard menu on the side of the truck.

“Did you just—have a hundred Euros on you?” Kon asks.

Tim shrugs. “Just in case.”

“In case what?”

Now Tim does look sideways at him. “In case a teenage superhero decides to take me on a spontaneous trans-Atlantic churro run, obviously.”

Kon feels like he should be boggling over the rich people-ness of it all, but he’s a bit distracted by the deepening flush on Tim’s cheeks. Also distracted by boyfriend, and hoping Tim doesn’t know a word of Portuguese, while at the same time kind of hoping he does.

“What’s his deal?” the employee asks Kon.

“He’s, uh, American,” Kon says.

They raise their other eyebrow.

“And rich,” Kon adds.

“Ah.”

[oldbookist]

fanfictions that have a bibliography >>>>>