#citational

[thoodleoo]

the parasocial relationship between you and the guy whose article you cite the most in your paper

[jmtorres]

in re plagiarism and citation and people not knowing how to do it

in the capstone class of my MASTER's degree, I had to do a group paper with fellow students who had all done 6+ years of collegiate study to get there

we shared drafts of our portions and they had no citations and i was like???? and they were like "it's a draft i'll put the citations in at the end" and i was like ???????

because by the time you're done writing the thing you're not going to remember what you got where and whether you synthesized information together! this is how "i thought i thought of it" plagiarism cases occur!!!!

anyway i told them at the bare minimum any time they referenced a numerical figure they needed to cite it, and since it was a paper on accounting fraud that mostly worked out. but i could tell they were citing stuff simply because i'd told them to cite where numbers came from, because they didn't bother to cite some non-numerical things that definitely needed it.

anyway this is why when you have classes that have multiple assignments for a paper to teach you how to write it, annotated bibliography comes before drafting. because you're supposed to have your sources and know what's in them when you start writing.

to current college students: PLEASE put the citations in as you're writing not as you're editing. i know it seems like a pita especially if you don't know the formatting well, but that's what tools like Purdue Owl are for. Tell it what citation format you're supposed to use, what kind of source you have, fill in the fields and it will format the citation for you.

[werewolf-transgenderism]

full blackbeard crimes list just dropped babes

[lesbianshepard]

these are the questions about history that the people really need to ask

[psicochurroz]

[oatflatwhite]

the inherent homoeroticism of war media: a completely unserious presentation by me

[note: some slides have been removed because they're literally just fancams and also i had more than 30 slides boo tumblr image limits]

BIBLIOGRAPHY (just going in order of slides)

and your knees are driving me wild - mash s02e08

george mackay has found his niche in homoerotic war movies

war stories are inherently homoerotic. that's how we got stucky

hangman you look good - top gun: maverick (gif by babyrooster)

letter of recommendation: watching masters of the air secondhand

it's not just sports - masters of the air e02

1 being not gay at all, 10 being liberace in an f-16

we'll go to chicago - band of brothers e01 (gif by @fkmylif3)

it is the law that every piece of war media

kim is a homoseggsual - kath & kim s01e02

Untitled (You Construct Intricate Rituals) - Barbara Kruger

The Secret History of Australia's Gay Diggers - Ben Winsor (+ Paul Fussell quoted within)

Sexuality, Sexual Relations and Homosexuality - Jason Crouthamel

Soldiers bathing in Malaya - AWM

Private Frank Crocker letters featured in Sebastian Faulks and Hope Wolf, A Broken World: Letters, Diaries and Memories of the Great War (2014), pp. 75-78.

mike's mic screencap my beloved <3

winnix gifs by @bandofbrothers2001 @preacherboyd @galebucky

winnix art by @andromeddog

winnix art by @onefineginger

In storms and at sunset by jouissant

winnix memes/text posts: 1 (@bleedingcoffee42) 2 (@krakerjaksstuff) 3 (@claudycod) 4 (@lewis-winters) 5 (@mon-mothmas-collar)

man is a hopeless creature i don't like much of anyone (@sluttyhenley)

You Create Intricate Rituals: The Homoerotic Action Movie - Rebecca Radillo (Lyvie Scott featured)

val kilmer icemav warrior compliation by @mavernick2

t as in top gun: maverick (@misaothewitch)

which is gayer (@holypowell)

we're fools to make war by whimsicule

all my roads lead back to you by liadan14

m*a*s*h video by @amrv-5 (+ reblog tags)

clegan/buck(y) gifs by @4o4notf0und @rcbertleckie

clegan fanart by @ifapromise <3

clegan memes: 1 (@rcbertleckie) 2 (@season-two) 3 (@ww2yaoi) 4 & 5

bomber's moon by moonrocks

**i tried to tag/link everything, if anything is broken or unsourced please let me know and i will endeavour to fix it! standard disclaimer that a) any discussion about war media based on real life people is based upon the fictional portrayals of those people and not the actual dudes. and b) this powerpoint was made for fun, it is not rigorous academic analysis. all opinions expressed are my own. please do not take it too seriously! that's all <3

[francis-ford-kofola]

GONCHAROV (1973) dir. Martin Scorsese

[phoenixyfriend]

In honor of hbomberguy's video...

I've found a youtube response to the hbomberguy video that isn't just content hunting/recuts! And doesn't seem to be a planned thing like Todd!

Mostly because this is an academic using the hbomberguy video as a jumping off point to talk to the camera, with few edits, about how to cite your sources.

Don't Be Like James Somerton: Advice on Citations and Plagiarism by Archaeology Tube

This is a very reasonable kind of thing to see a day or two after a big story hits. Not edited in a way that's super intensive, and clearly a lecture--too happy to be a rant, honestly--that the person has locked and loaded and has obviously thought about a lot... presumably because, as an academic, it's kind of super necessary.

[amygdalae]

fun fact: in the 50s the Kent cigarette brand had a type of cig with micronite filters that literally had crocidolite in them, aka BLUE ASBESTOS, literally THE most lethal type of asbestos by a mile. and you could just buy it at the store and huff it

[onmyscreens-blog]

Love it a message for the haters.

[starstrike]

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 :)

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.

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.

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.

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.

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.

[aardvaark]

sophie’s expression in the inside job when she notices & picks up parker’s bunny is so sweet. like yeah seeing a stuffed bunny amidst the extremely spartan, dark warehouse filled with knives is a little adorable and a little heartbreaking and so very parker.

[ms-demeanor]

Hey if you're looking for some decent leftist critiques of AI that don't tip into scaremongering and are much more realistic about the state of the industry that I think a lot of the people discussing this stuff on tumblr are, Citations Needed and It Could Happen Here both had recent episodes about this that are pretty reasonable in their approach (their approach broadly being that the problem is capitalism and also media narratives about AI either being the end of the world or replacing all creatives are both pushed by grifters).

[arvtisticfra]

[toffeecoco1]

@perpetualgrey's comment on this post

Ok my first instinct was to laugh, but then I realised you might be onto something???

Shen Yuan is LITERALLY an impostor, who’s more far more kind and beloved by Binghe than the original. The Guanyin pendant is a counterfeit, but it carries the love of Binghe’s mother and is far more precious than any real jade could ever be.

The heartbreak Binghe’s mother felt after realising that the Guanyin pendant was fake and she’d been tricked was part of what lead to the gradual decline of her health.¹ In wanting to do something kind for Binghe, she felt that she’d failed, and this led to her demise. What is Shen Qingqiu’s entire story, but trying to be kind to Binghe, feeling inadequate at this, and dying? (More than once!!)

Guanyin is a Bodhisattva associated with mercy, kindness, compassion and unconditional love. She is a patron of mothers, and is called upon in times of fear, uncertainty, and despair. The Bodhisattva she originated from is seen as a saviour, through whose grace even those with the most negative karma can achieve salvation. Even when she is not worshipped as a goddess, she is revered as the principle of love, compassion and mercy.² From wikipedia, “The act, thought and feeling of compassion and love is viewed as Guanyin. A merciful, compassionate, loving individual is said to be Guanyin.”²

The original Luo Binghe appears never to have lost his pendant. Shen Qingqiu tells us: “It was the only bit of warmth in Luo Binghe’s dark world, always by his side, and even in the future when he was at his darkest, it could summon up his last dregs of humanity.”¹ He also states that “it was Luo Binghe’s biggest berserk button.”¹

Our Luo Binghe does not cling to the pendant when he’s at his darkest: he clings to the love he has for his shizun and to memories of his kindness, and later, to the lifeless body of Shen Qingqiu himself. His biggest berserk button isn’t when people insult the pendant or his mother, or try to take it away; it’s Shen Qingqiu: when people insult him or try to take him away.

From the start, Shen Qingqiu expresses truly unconditional love for Binghe. He spends three years showing endless compassion and kindness, actions which feel insignificant to him but are more than enough to completely change Binghe’s life. He holds no blame or resentment for the things he fears Binghe will do to him; though he doesn’t want to be tortured, he forgives Binghe for it nonetheless, before it has even happened. He sacrifices himself to save Binghe as his mind is eaten away at by Xin Mo, when he believes that Binghe just slaughtered a hundred Huan Hua Disciples, when Binghe’s reckless use of the sword is putting countless more lives at risk.³

Shen Qingqiu is a counterfeit that is more precious than the original could ever be. For Binghe, he personifies kindness, compassion and unconditional love. His regrets over his treatment of Binghe lead to his temporary demise. Binghe clings to him in his darkest moments, and he is that which Binghe protects most fiercely.

I always found the pendant’s role in the story to be almost lacking: it’s treated as such an important item to Binghe, yet in the end its return is almost anticlimactic. But perhaps this is because the role the pendant played in Bing-ge’s story has been overtaken by Shen Qingqiu. When he returns the pendant, Binghe is relieved and appreciative: but his joy seems to stem more from the fact that Shen Qingqiu held onto it and cherished him than from the pendant itself. The pendant doesn’t matter all that much to him anymore, at least not compared to how important it seems to have been in PIDW. Binghe doesn't need an object to symbolize love and kindness; he has a person to love, who loves him back.

In conclusion: Shizun was in fact the fake jade Guanyin pendant all along!

sources cited below :)

1. Seven Seas Volume 1, Chapter 1: Scum. Pages 40-41.

2. “Guanyin,” Wikipedia. There’s a lot more to her than what I mentioned here, she’s quite interesting.

3. Seven Seas Volume 2, Chapter 8: Death. Pages 154-156.

[carriesthewind]

"But this characterization confuses IA’s practices with traditional library lending of print books. IA does not perform the traditional functions of a library; it prepares derivatives of Publishers’ Works and delivers those derivatives to its users in full. That Section 108 allows libraries to make a small number of copies for preservation and replacement purposes does not mean that IA can prepare and distribute derivative works en masse and assert that it is simply performing the traditional functions of a library." Hachette Book Group, Inc. v. Internet Archive, No. 23-1260, at 31 (2nd Cir. Sept. 4, 2024).