#culpa moral

[bocadosdefilosofia]

«Hay culpa moral en todos aquéllos que dejan espacio a la conciencia y al arrepentimiento. Son moralmente culpables las personas capaces de expiación, aquéllos que supieron o pudieron saber y que, sin embargo, recorrieron caminos que ahora, en el autoexamen, estiman como un error culpable, tanto si se encubrieron cómodamente lo que sucedía o se adormecieron y se dejaron seducir o comprar para obtener ventajas personales cuanto si obedecieron por miedo.»

Karl Jaspers: El problema de la culpa: Sobre la responsabilidad política de Alemania. Ediciones Paidós, pág. 82. Barcelona, 1998.

TGO

@bocadosdefilosofia

[uroborosymphony]

What is her thoughts on sharing turf with other vigilantes? Since she likes to quote-on-quote ‘play with her prey’, what about a person would make her consider them an equal and therefore take them seriously?

𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐃𝐄𝐕𝐄𝐋𝐎𝐏𝐌𝐄𝐍𝐓 𝐖𝐈𝐓𝐇 𝐐𝐔𝐈𝐍𝐍 (𝟐/𝟓).

What makes Quinn's cohabitation with the other vigilantes so difficult is the little trust she has in other people's definition of Justice, she only fights for the one Taiyang and her has built, like a Sacred Oath. All her life she has been disappointed by any form of authority such as the governement, the law, the police : the System overall, believing the game was rigged, corrupted and in favor of the privileged only. Quinn has been growing in the poorest neighborhoods, through the system and even when she managed to "evolve" and found herself studiyng along with elite of the society, she still felt treated less due to her origins and her unability to "pay her way through it". She kept on growing up and started defending the young, for example girls who got raised in similar foster houses as her and had no voice when trying to denounce the abuse they were going through, or even young boys finding themselves locked up and getting their future compromised for little mistakes meanwhile bigger crimes from powerful influencial grown up rich men would never be condamned. To her biggest disappoitment, she felt alone when trying to fight for these causes, as if it wasn't simply the System the issue but even the humans around seemed corrupted themselves. Nobody would fight for these kids, not even the parents in foster, not even the teachers, not even any figure who were supposed to "care and protect". She has lost faith in the human heart in general. So to her, the other vigilantes are a threat to achieving her goals of taking down the rich. "These masked baffoons are probably corrupted, too" She would think. And the furthur she goes in pursuing her own vision of justice, the more the other vigilantes will try to stop her, the more she will believe "See, they really don't want to fight for the good of this city. Their motivations are not as noble as mine." To play and treat them as preys is a way for her to get rid of them. If she manages to figure out their real identities, their affiliations and goals, can come blackmail and leverage for her to force them out, they are in her way. To consider them her equal however, she has to be taken off her high horses - there is a lot of Jesus the Savior complex in here : a conversation or a confrontation are needed. Taiyang's words could truly call her back, he would do it with care and patience and she would listen to him, if he tells her : give them a chance, you're bringing more turmoil than solutions - she would listen to him. I foresee the game she will play with Myungdae and Hyuk as perhaps a Key too. Watching them operate, fighing by their sides - when she will play a double identity with Hyuk for example - Will come conversations with either of them, about morals, about admitting there are other ways than hers to fight for Justice, it would take time to sink but besides her pride, she is smart enough to process and little by little, realize they are Not the enemy. I'm also thinking about ANACHRON, learning about what they did to Annie would drive her insane, however realizing Myungdae has been fighting against them before she was even born, Quinn would give him her respect, she admit she's not As strong as she thinks on her own , that the vigilantes have a lot to offer in these batltles.

[en-lop-ter]

FOTOGRAMA: OPPENHEIMER, “LOS BUENOS ACTOS QUE UN HOMBRE HA REALIZADO LO DEFIENDEN”

“Si de pronto surgieraen el firmamento la luz de mil soles,tal esplendor pudiera compararsecon el fulgor del Espíritu Supremo”—Bhagavad Gita “Cuando me preguntaronsobre algún arma capaz decontrarrestar el poder de labomba atómica sugeríla mejor de todas: la paz”—Albert Einstein Siglo V a.C. los griegos se cuestionan sobre la realidad del universo llegan a la conclusión que la materia estaba…

[eltiempoyloeterno]

FOTOGRAMA: OPPENHEIMER, “LOS BUENOS ACTOS QUE UN HOMBRE HA REALIZADO LO DEFIENDEN”

“Si de pronto surgieraen el firmamento la luz de mil soles,tal esplendor pudiera compararsecon el fulgor del Espíritu Supremo”—Bhagavad Gita “Cuando me preguntaronsobre algún arma capaz decontrarrestar el poder de labomba atómica sugeríla mejor de todas: la paz”—Albert Einstein Siglo V a.C. los griegos se cuestionan sobre la realidad del universo llegan a la conclusión que la materia estaba…

[sneezypeasy]

The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

[drrafaelcm]

Emissão de CPF em duplicidade para homônimos gera indenização por dano moral

Emissão de CPF em duplicidade para homônimos gera indenização por dano moral

Sexta Turma do TRF3 confirma sentença e condena União pelo erro (more…)

[hobiebrownismygod]

Researching Characters so you don't have to Part 3: Miles G. Morales/Prowler Miles & His Accent/Spanglish

Art above is NOT MINE. Made by Binu Herath. Click for the link <3

I'm gonna refer to him as 42-Miles throughout this!

The main thing I've seen people trying to do when writing 42-Miles is trying to write him speaking Spanglish. However, if you don't speak Spanish at home or know some Spanish already, this can be pretty difficult to do.

So how do you write a character speaking Spanglish?

First of all, not a lot of bilingual people speak one sentence in English and the other sentence in their respective language. One of the things I've seen people do in fanfictions is write 42-Miles like this:

"Estoy trabajando en este proyecto. I'm busy right now." (I'm working on this project)

They write him speaking one sentence Spanish and the next in English. Now this isn't necessarily wrong, but it also doesn't sound completely accurate. The thing is, not many people will continuously switch between Spanish and English that way, especially if the person they're talking to isn't fluent in Spanish as well. If they are fluent, I'm assuming he'd probably talk fully in Spanish, and if they aren't fluent he'd probably talk fully in English. Now if you want to write him that way, like I said, there's nothing wrong with it, but for the people who want to make him more accurate, I recommend using the tips I researched below.

Bilingual people often confuse words and phrases from their respective languages together. An example of what would be a more accurate phrase that he'd say is:

"No eso es mi fault"

Miles said this in the first movie, and this is a great example of Spanish because he doesn't remember the Spanish word for "fault" which is la culpa, so he just says fault instead.

Another example of accurate Spanglish is:

"Can you hand me the, destornillador, destornilla-...the SCREWDRIVER, can you hand me the screwdriver?"

As a bilingual person, when I can't remember a word I often say it in my other language a couple times to try to remember and then say the word once I remember it. From what I've seen, this happens with a lot of Spanish-speakers too. This also goes both ways, where if he's speaking Spanish he switches to English because he can't remember a word.

If he's talking to someone speaking English, it wouldn't make sense for him to randomly speak some sentences in Spanish and some in English, so it would be more accurate to have him confusing words together and taking a little longer to remember specific vocabulary.

This can go both ways as well, so if he's speaking Spanish to someone, you can have a little "how do you say [item], oh, you say it like [item in Spanish].", basically the exact opposite of what I did in the example above.

Words and phrases aren't the only things that get mixed up. Bilingual people also often mix up the grammar of the two languages when speaking.

Spanish has pretty similar grammar to English, but there are still some significant differences. For example, adjectives come after nouns in Spanish, while they come before nouns in English. One example of a dialogue you could have is:

"Es un bonito vestido" (Its a pretty dress)

This is grammatically incorrect, because the adjective "bonito" came before the noun "vestido" when it should be the opposite. Normally, it would be vestido bonito, but someone bilingual like 42-Miles might mess it up, because in English it would be "pretty dress", not "dress pretty".

Finally, for filler words like "but" and words like "yes" a bilingual person might say them in Spanish instead of English when speaking English.

Instead of saying "but this", 42-Miles might say "pero this" because pero means "but". If he answers a question with "yes" he might say "si" instead.

But make sure to keep in the mind that nobody who's bilingual is going to speak to someone in a language they don't understand. If you're writing a 42Miles x Reader, it wouldn't make sense for him to talk a lot in Spanish unless its an xLatino!Reader or xHispanic!Reader. A few words and phrases is understandable but you should've overdo it.

Hopefully, I got most of them. I'm not hispanic but I do speak Spanish fairly well. However, if you see any mistakes with my translations or my grammar, please feel free to correct me! It'll help me learn <3

I hope this helps anyone who wants to write 42-Miles more accurately, and remember, you can use these tips for any Spanglish-speaking/Billingual characters!

[caostalgia]

Lo qué yo perdí.

No, no lo sabes, y nunca lo sabrás.

Te disfrazas de verdad y lealtad. De esperanza y moral. Pero no lo sabes, lo mucho qué me dolió perderlo, nunca lo entenderás.

Su presencia vuelta hemorragia, la vida y la muerte a poca distancia.

Células multiplicadas, la búsqueda de algo real que nunca se halla. Nunca acaba.

En abril concebi y en junio perdí.

Solo faltaban siete meses más para poder ser feliz, pero era de esperarse que no debía quedarse aquí, para mí y mucho menos para ti.

¿Así es cómo se siente que el mundo se te caiga encima?

El sufrimiento y condena que nunca terminan.

Dime, ¿Qué tan putrefacta debes tener el alma para haber querido acabar con su vida?

Ahora solo me quedan escombros de aquel sueño que pensé, algún día pasaría. Aquél que me daría alegría, pintaría de rosa mis pesadillas, lo nublado de mis días.

¿Y sabes? Siento culpa en verdad. Todo se rompió a causa de mi inutilidad, mi fragilidad y al mismo tiempo terquedad.

Todo fue culpa mía, no merecía aquél amor en realidad.

Y ahora solo puedo pensar que yo fui quien acabo con su pequeño existir, apagué aquel diminuto núcleo carmesí, y es que de esa forma, tú ya puedes ser finalmente y realmente feliz.

Ya no hay ni habrá nada que te haga volver aquí, al infierno en el que me convertí.

¿Qué tan putrefacta debo tener el alma como para, por un momento pensar más en ti que en él?

Y lamentablemente cuando pude reconocer que no estaba bien, ya había perdido a mi bebé.

Un estúpido accidente, recordando lo infeliz que debo ser.

Producto de mi estupidez y de esa manera te he dejado libre esta vez. Por siempre.

¿Así es cómo se siente que la existencia se te haga trizas?

Terminar de pisotear un corazón que ya no latía.

Porque no imaginas lo qué yo sentí.

Y mientras tú ya le encontraste con ella, sentido a tu vida, jamás podrás entender y vivir, lo qué yo perdí.

Coldissweet

[mins-fins]

SIGNED, AGENT ZERO

❝ your feelings and mine are holy but you and i know it's untrue.. ❞

in which. seven agents are sent down to a university in seoul to uncover a corrupt financial scheme happening right in the walls. should be easy, right? they've done this thousands of times before! one problem though, their own feelings are coming into the mix. now it's a matter of morals, loyalty, and the yearning for a normal life that causes for everything to go downhill.

𖥻 paring nct dream x male!ocs

𖥻 genre university au, secret agent au, fiction, written series, inspired by many james bond movies, kind of vigilante justice type thing?, strangers to lovers, angst, comedy, romance, slow burn, pining pining pining, drama

𖥻 warnings swearing, explicit language, sexual humor, mentions of abuse, mild manipulation, fighting (both verbal and physical), brief descriptions of gore, injuries, alcohol consumption & smoking, warnings will be added to each chapter!!

𖥻 status spontaneous updates.

𖥻 soundtrack

❝ your feelings and mine are all lonely.. ❞

──── ⭒ INTROS generis 𖦹 sogno

──── ⭒ ACT I ❝ take my tears  ❞ ᪥. ex nihilo i. carpe diem ii. meliora iii. ars amatoria iv. amor vincit omina v. bona fide vi. carpe noctem vii. ergo viii. fulminare ix. dum spiro, spero x. mea culpa

──── ⭒ ACT II ❝ whispering magic spells  ❞ tba..

──── ⭒ ACT III ❝ a candle's fickle flame ❞ tba..

𓏧 taglist open! ↳ if you'd like to be on the taglist for this fic, you can simply send me an ask or comment on this post!!

[essaysbyciara]

so about 'Mea Culpa'...

spoilers under the cut (...but honestly, i don't think you should care to have it come spoiled (because it's that [REDACTED] but this is me being nice to y'all because i love y'all...)

Tyler Perry must be thrown under a jail stat.

I've been on this site for a damn long minute and I PROMISE YOU that most of y'all would've written me a HEATER of a story starring a high-powered defense attorney who wants to fuck her sexy-ass, philandering, morally-questionable client who may or may not have killed somebody.

like, listen...

please explain this plot with her brother-in-law. i left with more questions than answers. did he set Zyair up because he slept with his wife? what does the brother have to do with it? him losing his job and going to rehab added absolutely nothing to the plot. and then all of a sudden, he's in on the plot to set up Zyair? because Mea slept with him? but he didn't find that out until close to the end. OR DID HE KNOW? TYLER, THIS MAKES NO SENSE! why would you throw in that the Moms faked her cancer? that had nothing to do with the story. and why bring in my girl M-I-CROOKED LETTER-CROOKED LETTER for Chuculissa (get you a check, Shannon. i ain't mad) into the story? WHY IS THIS MOVIE TWO HOURS?!

there were plot-holes the size of Free Willy, like... come on. how did the blood and body fragments of shorty get into Zyair apartment. how did they get into his apartment (what a nice-ass apartment).

As for Trevante. I know a lot has been made about him being in this movie. I will say that he tried his best. he's hella delectable in this. he played this as well as he could since the source material set him up for failure. obviously, after Moonlight, he was supposed to be that dude but it's clear he's running from that limelight and i guess i can't be mad. i just want better for his sexy-ass.

and speaking of ass ... that sex scene was a-ight. but there's something about Tyler trying to get into his BDSM bag that... eww, gross. it was written from the perspective of someone who reads too many horrible Wattpad stories and like, we really need to stop linking psychopathic behavior and deviancy with BDSM. not everyone with a kink wants to kill you.

anyway, i would watch drunk if you can. grab a bottle, grab your girls, have a night. i watched this alone and sober thus i set myself up for failure. enjoyed seeing trevante's face. and kelly's pantsuits.

[rat-prophetess]

@torse thank you for making this brilliant and extremely cursed connection. I am now being haunted by trying to figure out what Vlad Jr.'s drag name would be.

A non-exhaustive list of possibilities so far: Izzy Racist Nova Caine (and/or Nova Cation Days For The Family's Employees) Allie Gations Miranda Rights Mia Culpa Manda Tori Disclosure Auntie Thesis Miss Ann Legends Emma Disappointment Lucy Morals Casey N. Point Ida Lied Hope S. Lost Sarah Problem Anita Lawyer Tara N. Feather Olive The Kin Want Me Dead Miss Representation Miss Demeanor Miss Conduct Tess Timonials Lisa Slaughterhouseandexploitthelocals

... none of them are funny and I'm losing my fucking mind but here we are I guess!

[megamindsecretlair]

WIP Thursday

Thank you for the tag @nerdieforpedro

Work been kicking my Black ass 🥹🤣🤣🤣 along with my toxic gaming habits, I haven't been working on fics. I've actually been working on my witch/vampire book that I'm approaching the middle for. Got some time to go, but getting past 30k words in a book is a milestone.

I still have all planned updates coming up. Sam, Loki, Vamp Tyrone, mob boss Fontaine, David Kane, both Stunna series and Franklin. I'll probably update Franklin first since it's been so long between the first chapter.

Also Mea Culpa/Zyair. I aint forgot. I just want to get it right.

I also have an ask for horny reader waking Tyrone up outta his sleep. I have a feeling he aint gonna be too nice about that 😈😈

I also 👉🏽👈🏽🥹 want to write another Pedro Pascal fic and an Oscar Isaac fic. I've been obsessing about Frankie, Tim Rockford, and Din 🥹 Moon Knight has my whole heart and I wanna see mooooar.

Also more Jatemme is on the way. I like writing some morally questionable shit 🤔🤔 alsoooo, my nasty baby Kevin Atwater 😈

I keep saying it, but JJK mens too. Gojo, Sukuna, Choso, and Nanami. Can we say 🧎🏽‍♀️🚂💨💨

As always, I love the love and support yall give me 😚😚😚

[smitingthewicked]

(little excerpt about hellfire's lyricism from the essay on religion in media I wrote for class)

‎

But there are times when the secular world of modern music and the powerful tradition of religious music intertwine and create something, both removed from, and nonexistent without, the sacred.

Committed to their image as a clean, family-friendly media conglomerate, Disney has long put to rest its raunchier subject material. No more drinking, no more smoking, no more violence. Every movie is smoothed into an edgeless ball of mediocrity, devoid of anything deemed even mildly offensive, all in an attempt to appeal to every demographic possible. Every song is designed to be an earworm, and most don’t mean to convey anything but a desire to sell dolls and CDs.

Then, there was that one time where they adapted one of the most infamous pieces of gothic literature into a movie for children.

Walt Disney Studios’ take on The Hunchback of Notre Dame remains one of my favorites. For as much as people dislike its darkness and lack of child-friendly themes, for as many stories I’ve heard of parents pulling their children out of the theater during its initial release, I will never stop believing that it’s the best in Disney’s repertoire.

And, of course, what would The Hunchback of Notre Dame be without Hellfire?

Including its prelude and thematic opposite (Heaven’s Light, which I will not include in this essay as I fear the length already), Hellfire, at just five minutes and twenty two seconds, stands of one of the most memorable moments in musical history. It is, in my own opinion, the crowning jewel of the film and encapsulates every aspect of what makes Hunchback so controversially masterful.

There is no doubt that Hellfire- and the film as a whole- are indirect forms of religious expression. Devoid of the usual pandering and ingratiating aspects of Christian animated media, it not only succeeds in displaying the benevolent, hopeful side of religion, but excels in its evils as well.

As the dreamy, soft-edged melody of Heaven’s Light fades into the sound of church bells, the song is taken from a gentle allegory of love as paradise to the echoes of Latin chants against stone walls. Here, the hopefulness of Quasimodo’s ballad is sent through a hazy mist of prayers and resurfaces in a rising anxiety.

Claude Frollo (originally an archdeacon, but a judge in this particular version) begins his own song by beseeching Mary. To confront the holy virgin, the sinless mother of God herself, with his temptations, to turn to an immortal woman as an escape from one of flesh and blood. He denies, and then he bargains, and then he denies again. Frollo’s cognitive dissonance from the image of superiority he projects onto others versus his struggles with the moral inferiority he feels within himself, which have been building since the very first minutes of the film, reach their narrative peak here as he ultimately refuses himself capable of sin.

His obsession with his own damnation and his deflection of personal responsibility chase him throughout the song as he faces an imaginary court of hooded monks. The echoes of Latin- the language of Catholicism, as if the church itself is judging him- counteract every desperate claim he makes: “It’s not my fault // (mea culpa)”, which directly translates to “my fault”.

Even the symbolism of fire itself is a double-edged sword. In the context of Christianity, fire both represents pain, suffering in Hell- and cleansing, purification. Frollo’s own struggle with sin, as represented by fire, is complimented by a desire to purify himself of his lust by burning its source. In a literal and figurative sense, he weaponizes his own fear against others- he both resents AND wields the very thing that destroys him. After all, whether fire is hellish or purifying, it still burns.

The song closes with Frollo’s leitmotif, a chorus of “Kyrie Eleison”, an older Greek prayer that roughly translates to “Lord Have Mercy”, and he collapses.

Hellfire, fraught with heavy symbolism, intertwined with such a controversial character, not only represents Catholicism, but some of its darkest consequences as well. A pure revelation of the sacred through creation.

[ga-psicanalisando]

Falar de "certo" e "errado" é um tema complexo de se levantar, mas vou procurar não me prolongar muito. A vida de cada um é composta por uma percepção. Porém, já chegamos ao mundo com percepções de vivências e experiências alheias sendo impostas sobre nós das mais diversas maneiras. Nós não somos apenas ensinados, como também somos herdeiros de uma cultura de almas doentes, mentes quebradas de um passado social que continua ecoando e ganhando novos adeptos a cada novo indivíduo que nasce, cresce e se descobre, mas por vezes muitíssimo longe de quem realmente seria se não tivesse todas essas vozes, cobranças, demandas e ditaduras, contando ainda com a falta, senão a miséria de suprimentos básicos em sentido de sanidade básica, educação, uma remuneração e reconhecimento justo àqueles que dão o sangue para ter onde morar, ter o que comer; somando ao gravíssimo défice cultural, moral, ético e ideológico, que espalha mais do que junta, mata mais do que cura, tira mais do que doa, adoece mais do que previne e daí pra pior. No meio dessa realidade caótica, injusta, hostil, perversa, traiçoeira e deprimente, não faço uma prece para que ninguém mais e ninguém menos do que você mesmo que está lendo, na sua mente me ouça: desconstrua tudo que lhe foi imposto, aquilo que traz culpa, comparações maldosas, baixa autoestima, dúvidas sobre seus sonhos, seus valores, seus princípios, seus objetivos, seu caráter, sua vida, isso deve ser buscado na raiz, cortado e queimado diante dos olhos da sua própria mente. "Certo" é sua auto realização (sempre falo sobre isso), "errado" é viver para agradar os outros, sendo infeliz para bancar a felicidade dos outros, se formar ou permanecer em um emprego que esteve acabando com você mentalmente para não desapontar ou decepcionar os outros, e tudo quanto segue essa mesma linha é o que eu vejo como "errado". Talvez nesses últimos tempos você esteve se culpando, se doendo, remoendo e revivendo dentro de si, coisas que não te pertencem mais, mas você jura que pertence quando na verdade isso pede para ser liberado aí de dentro, mas tu continua a segurar com toda força; se desfaça disso, tem a dor daquilo que você está segurando fortemente por muito tempo, e tem a dor que vem depois que você solta mas se segue o alívio, a suavidade e a liberdade de vivenciar uma cura digna e que você tem todo direito. Abandone percepções dolorosas sobre si, os outros, o mundo, se isso está tão difundido em você e acho que não consegue sozinho, procure ajuda, isso faz parte do que é "certo", tudo que te desencoraja e te faz pensar que estará sendo fraco e covarde ao faze-lo é parte do "errado", porque é muito o contrário. A sociedade hoje esteve sendo uma máquina impostora mental. Cuide da sua saúde mental e não seja um alvo fácil do que vem para descaracterizar a SUA vida.

Você importa: nós importamos🤍✨

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Fale comigo:(21)970389124

[raisongardee]

"Parler morale n’engage à rien ! Ça pose un homme, ça le dissimule. Tous les fumiers sont prédicants ! Plus ils sont vicelards plus ils causent ! Et flatteurs ! Chacun pour soi !..."

Louis-Ferdinand Céline, Mea Culpa, 1936.

[lgbtiba]

BAGI: Ô Forevão… 😐 FOREVER: Eu vou falar um bagulho na moral, Bagi. Apareceu o Cucurucho preto, espalhou o bagulho pro meu braço eu to ficando doidão BAGI: Você tá- você que foi pro Nether, que culpa eu tenho!? Eu já falei pra você ficar longe desse negócio-! FOREVER: Tava- tava cheio de bagulho preto, passou tudo pra minha roupa, tio. eu to ficando DOIDÃO CELLBIT: Forever, Forever tira a camisa- BAGI: Puta que pariu, Forever- PAC: Não discutam, por favor! ☹️ BAGI: Fica pelado de novo então CELLBIT: É, tira a camisa, porquê- BAGI: Aí não espalha mais na sua roupa, caralho 😡 PAC: Eu to ficando nervoso, eu não sei o que fazer quando vocês dois discutem 😟 CELLBIT: Só tira a camisa, tira a camisa (os 3 brigando ao mesmo tempo) (Mike, no fundo: TÁ FRIO TÁ FRIO) FOREVER: PARA DE FALAR PRA EU TIRAR A CAMISA!! Eu não aguento mais ficar pelado na frente de todo mundo!!! CELLBIT: Mas você tá todo cheio de gosminha… 😨 FOREVER: SE EU TIRAR A CAMISA NÃO MUDA NADA, A GENTE VAI MORRER E VOCÊ PEDE PRA EU FICAR PELADO! CELLBIT: (ri) VOCÊ TÁ FICANDO DOIDÃO ele tá ficando doidão! (mais brigaiada inaudível) MIKE: Cala a boca! CALA A BOCA PARA DE GRITAR!! (silêncio) MIKE: Para de gritar! PAC: Vamo ver a outra sala- MIKE: CHEGA. Chega. Eu to ficando maluco…para. (todos rindo)