#Language Enrichment

[k12academics]

No bake cooking activities, craft, literacy activities provided in a fun environment to focus on sequencing, vocabulary receptive and expressive language skills

[spanishplaydates]

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[vaguely-concerned]

I have seen people question whether dios apate minor really needed to happen the way it did. it's the 'this could have been an email' of htn. 'augustine this did not have to be a threesome', I hear people saying. and boy do I have an obnoxious amount of things to say to protest this perfectly sensible assertion so here we go haha

1) yes it absolutely had to be like that. It says so on this piece of paper *hands you a piece of paper that says "because I said so and also it's narratively and thematically Sexy"* in my half-legible handwriting. seeing tamsyn muir describe harrow the ninth as a book about being a kid and realizing your parents probably had sex has given me such validation, I am unstoppable now. (to be serious for a moment, harrow the ninth is essentially a bildungsroman, and the threesome scene does a whole lot of thematic heavy lifting around harrow glimpsing elements of adulthood, relationships, and sexuality she clearly finds at the same time repulsive, bewildering and fascinating, and around opening her and especially our eyes to how much john is just a man with human longings still, under the god stuff. dios apate is crucial plot- and character-wise too -- it's a loadbearing threesome in terms of delivering the clues you need to piece together the mystery plot of the book, which is simply delightful -- but even more so thematically. and then the scene at the end where they confront john gives gideon some of that same opportunity to peek into adulthood and go '...well shit I guess', as a sort of mirror, just without the french kissing that time and more murder. the things magnus and abigail model for the girls about love and adulthood? mercy and augustine are providing the opposite-day batshit insane version of that fhdskjfa, you know, for contrast and spice)

2) listen... it gets lonely out there in deep space with your 'legendary unamorous' brother, two infant pathetic baby kitten sisters who you'll probably have to kill one day when you take another stab at god if they don't manage to get themselves killed along the way on their own, and the two people you've spent the last ten thousand years having separate yet connected married & divorced arcs with and also btw one of them is god... honestly a threesome over the dinner table is probably The most well-adjusted reaction one might hope for under those circumstances

3) on a characterization level I think Augustine is actually doing something incredibly deliberate with it: he's presenting John with yet another chance to admit what he did. which is notable especially since the deal he and mercy agree on as a condition for the threesome to happen at all seems to be that they're going to give the ol' godslaying another game try sooner rather than later. (I get the sense that it's not so much that he disagrees with her ultimate goal so much as that he thinks she's being dangerously indiscreet and hasty going about it, before. “though I think it will be the death of us,” huh.)

notice how he's structuring the whole thing: he's invoking the intimacy and love in their strange little threeway relationship and how long it's been by truly playing along with john's 'we're a happy family really when we're at home! :)' delusion (helped along by lowered inhibitions via enormous amounts of alcohol and what I've previously described as a joint mercy/augustine leyendecker themed thirst trap. ah, a classic). he brings up alecto and what happened to her -- or rather, he is clever enough to make john bring up alecto and how she is totally dead, right?? by seeming to make a careless statement that leads there and then acting contrite about it after. he (helped along by mercy, who I think realizes exactly what he's doing -- this is very much a two-man con) brings up how much they all loved their cavaliers, and wow funny how that's been haunting us for ten thousand years now huh :) wow, a lot of our other lyctor friends slash family sure are super dead in the name of some unknowable greater reason neither of us quite grasp and that you won't fucking tell us, aren't they. these are all the main grievances he and mercy confront john about at the end of the book, but put forth much more subtly and not phrased as an accusation -- he's baring his and mercy's vulnerabilities as bait, essentially. if john had, say, a conscience where his conscience should be instead of a black hole, it probably should have stirred something in him.

(also let me just say... the way augustine just takes a pneumatic drill to the TWO tender spots g1deon seems to have and then has the audacity to be like 'oh dear. did that upset him. ooof my bad *loooong dead-eyed slurp of his wine*' is just sooo... he's such a bitch!!! he's the only person who could ever have held their own in a ten-thousand-year bitch-off with mercy and I love him so much. well even if it wasn't all to get g1deon into murder range for harrow I think he wouldn't enjoy sticking around for the 'getting our tongues on god' part of the evening so maybe it's a kindness, really, and totally not pent-up aggression from the last twenty years or so breaking through)

he is all but shaking john by the lapels begging him to just... come clean about it already, to stop thinking he's still kidding everyone else along with himself. it's clear throughout the book that augustine knows exactly what john is at this point -- and all of the most cynical things he does say about it turn out to be distressingly right. john is always less sentimental than you'd think. john wouldn't forgive mercy, he will abandon in a heartbeat anything that isn’t necessary to him anymore, whether emotionally or in some other way. and still he seems to hold out some desperate absurd hope that the man he wants, the man he thought was there, is in there, somewhere deep deep down, if he just gives him the chance to show himself.

(mercy definitely has her own side of this whole thing, I'm just focusing more on augustine because this evening was like. his idea in the first place and I feel like we can Read Some Things into that fact lol. now that we have both ntn and htn to go from I sort of have this sense that the things augustine wants from john are more... personal? more interpersonal? they both love him equally, but mercy's love seems tinged slightly more towards the religious (augustine accuses her of knowing 'only worship without adoration', which like... also the eight house's entire Vibe lol) -- mercy at the end of that book is totally a person breaking up with GOD, not just with john -- while augustine's vibe is more like a man in the last not-with-a-bang-but-a-whimper days of a marriage that sort of felt like it could have been something real and good once but all your illusions about it have since been taken from you and trampled underfoot into the mud and you've had the divorce papers signed and ready in a drawer for over a year now, hell, as it turns out, is other people etc. lmao)

having a threesome over the dinner table with god is one thing, having a threesome over the dinner table centered on the one man and god who has yet again let you down in a way so fundamental it can barely fit into words and who you both still love in a way anyway, miserably, and also just reaffirmed your joint resolution to murder (all under the pretense that it gives your baby sisters the chance to murder your brother of ten thousand years yeah that's why this is happening no other underlying aching emotional motivations here haha)... listen mercy and augustine are simply on a different level, theologically. they've added horny shrimp colours to the religious spectrum. who else does it like them

[kaurwreck]

forgive me if this is a stupid question but could you elaborate on chuuya and fyodor being narrative foils??

Oh, I don't really think they are! I do think Chuuya is a Christ figure, and Fyodor is a false prophet of sorts (he's really a Lucifer figure, especially considering the Untold Origins play, which I'm almost certain is adapted from The Revolt of the Angels by Anatole France, but that's neither here nor there). But not really foils.

Rather, Chuuya and Verlaine are foils, and Dazai and Fyodor are foils. Thus, it's fitting to me (and increasingly I think it's where the narrative is going) that Verlaine and Fyodor are parallels.

(Verlaine is alive because Rimbaud resides in him; Fyodor is alive because he resides in others— they're both polyphonic, in their irl literary voices, and more literally in bsd. Verlaine is inhuman as a clone; Fyodor is inhuman as a demon/conjurer. And also, this monologue by Verlaine, but in the context of Fyodor who is seeking salvation by cutting down all of humanity for being sinful and plunging the world into primordial chaos: "Rimbaud. Just once, I want you to imagine just how much it would affect a person if you told them they weren't human. Imagine how it feels to be told you weren't born with God's love, that you are nothing more than a character set someone suddenly came up with. Imagine the depths of a person's heart pierced by those words. It's a pitch black abyss where the moon can't be seen. There is no hope. There is no salvation. Do you get it?" Verlaine was so lonely and couldn't kill humanity no matter how much he claimed to hate it; Fyodor is so lonely and can't bear to kill himself without taking all of humanity with him, even as he claims to be bored by it. Etc.)

Chuuya and Dazai thrive together but apart, and I think Verlaine and Fyodor would nurture one another in claustrophobic togetherness.

[kittykatninja321]

Jason and Talia don’t have an attack dog and handler dynamic in canon but I kinda want to read a team up between them where they develop one

[vamptits]

Could you possibly link me a post about your issue with love languages, if you have made one? I found your posts about IQ and maturing at 25 useful. Also anything about MBTI you’ve written, if you don’t mind. I don’t actually know what that is at all.

Of course!! I said a few things about MBTI here, but tldr it's all eugenistic pseudoscience. And the women who made it up were just so racist.

Love languages are based on a book by a baptist pastor and relationship counselor called Gary Chapman. He is a misogynist, and most of his advice boils down to “women should sleep with their husbands because their love language is physical touch” and “he’s not doing the dishes because acts of service is your love language, not his”.

There’s absolutely no scientific basis for the many books he’s written on the subject (which include ‘The 5 Love Languages for Men’ and ‘The 5 Love Languages Military Edition). He just made that shit up!

"[Chapman’s book] does not provide strong empirical support for the book’s three central assumptions that (a) each person has a preferred love language, (b) there are five love languages, and (c) couples are more satisfied when partners speak one another’s preferred language”

Mainly it’s about as helpful as any online personality quiz and the guy who made it all up sucks. Also I took the test and it’s just the same 5 questions reworded 30 times. Not even fun! And lastly it bears repeating that it’s kinda funny how pervasive this shit has been considering this man also wrote these truly spectacular works of nonfiction:

[ndostairlyrium]

the time has come...

to block the tags before combat stuff and companions week lol

I feel like being in the dark about it << maybe I'll turn off anon for a while? I'll see

[cauls-antique-pepperbox-pistol]

Interesting…

I know Ransom Riggs has said that he based Old Peculiar on Anglo Saxon, but this word is just straight up Anglo Saxon, like he didn‘t even change it a little bit at all (maybe it‘s supposed to be. Maybe Old Peculiar has some words that are exactly the same, like some real life languages do too)

N e way if anyone wants this Old English translator I‘m putting it in the notes. Edit: nvm tumblr hates me and doesn‘t want me to put links in the notes. So here it is https://www.oldenglishtranslator.co.uk/

[code31-onthedancefloor]

concept: if steban and ulixes ever moved in together with Required Reading, Ulixes would play with RR by chasing him around the apartment. that includes jumping on top of the sofa and running across it while steban is sitting there trying to read

[arolesbianism]

Doodle of my boy

[spyld]

wanted to talk more!

វា (wia/via) is the it/its pronoun of khmer, used on objects and animals, its rude to call strangers វា

however, what makes it beautiful is that you can call close friends and family វា as its also super intimate. our dad calls our mom ម៉ែវា (maewia) which literally means "mother it" which makes no sense in english, but its just a very very intimate way to refer to his wife it makes us very happy especially as someone who uses it/its pronouns in english!

And for other pronouns, the he/she/they isnt gendered and is same word, គាត់ (goadt), however, more often than not you would refer to people by age group, like calling ppl as old as your dad "dad" (ពុក) or ppl who are your friends or similar age group បង (bong, literally meaning brother/sibling, though bong is used a lot as a friendly you too)

-

when learning or using google translate, "you" is always translated as អ្នក (nek) which is more used as an indirect you (like refering to someone youre not talking directly to) or as a general you. You wouldnt rlly use it if speaking to the person.

Loving the different usage of pronouns :))

[totallyawesome123]

rediscovering I have empathy? craaaazyyyyy

[spanishplaydates]

Preschoolers - WEATHER Song & Activity | Spanish Play Dates

[britneyshakespeare]

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."

[museenkuss]

I'm firmly of the opinion that I don't need to read English translations of books that have also been translated into German (imho the German language is better suited grammaticaly in some cases, re:formal/informal, gender of nouns, etc), BUT sometimes the editions do make it hard to stick to that decision.

Then again this very example is interesting because it seems that the original title "La mort i la primavera" does translate to "the death and the spring" which means the German translation of the title alone is much closer.

[hidden-havven]

Secretly hoping that the Twitter teaser image isn't about new members at all but about our current cubitos leaving everything behind and showing up on a completely diferent place with little to no explanation. like they appear on a deserted lowkey post apocaliptic-vibe wasteland with barely any resources inmediately available. separated on small groups of people with diferent languages thousands of blocks away from eachother. perhaps near each group a new member joins them as they build a settlement, or investigate abandoned structures in search of clues, or just explore as much as they can hoping to find their lost friends.

maybe wilbur and luzu return to an empty home with no signs of life beside one another. no cubitos, or eggs, or even mobs left in the quesadilla island they knew before embarking on the same aventure. Perchance the real Quackity escapes the grasp of the feds at the same time and joins them, or he appears on the new place with the rest but his nametag is indistinguishable from ElQuackity, who is on a different group and no one can tell which one is the fed spy

I just want them to get isekaid