#t: dora

[insertdisc5]

surprise, we also have more songs to share!!

here's our official playlist for The King. the bane of your existence. the one who can't stop crying.

and for some reason… now you want to cry, too. 👑

[kaiju-wolfdragon]

I'm back with another of Kaiju bfdi au! And it's part 4 of it too!

[mparchives]

Decided I'll be translating Marko's interviews for anyone interested so here’s Dora 2024 finale Press conference for now.

Alt link: Dailymotion.

[lovelybrandt]

Style Guide 2000s Character Graphics Y2K Kiddie Style Dora The Explorer Available on Redbubble T Shirts Mugs Bags Stickers Printing Pillows Checkout New Stores Coming Soon in Spring 2024

[thats-a-lot-of-cortisol]

Some sketches I did yesterday during my commute/lunch break! Ft. Io, Peri, & Dora

[closetofcuriosities]

Picasso 'Dora Maar' AOP Tee - 1988

[black-occamy]

We know that animagus can shrink their form significantly - in case of Peter Pettigrew it's going from a grown man to a rat, which is approximately 1000 times smaller. We can assume that with the same ratio one could enlarge themselves a 1000 times.

We don't know it being a metamorphmagus has any influence on an animagus form, but just for the sake of argument, let's say it does. That a metamorphmagus in their animal form can basically morph themselves into any different animal they wish.

All that I'm saying is an animagus Tonks could easily become a T-Rex any time she wanted to.

Or any sort of cryptid @spotsandstains 😘

[dracolizardlars]

...I just pulled a t shirt out of my drawer and a brown object tumbled out onto the carpet. I picked it up. It was a snail.

A juvenile Giant African Land Snail, not an albino, just a standard one with a brown shell and a grey body.

...Her name is Dora. I raised her from a day old hatchling. I cried when I got back from a week long holiday, three weeks ago, and she was gone.

I think she's still alive.

Holy fucking shit.

[cmonbartender]

Laurence Hutton (1894) - Dora Wheeler Keith

[mlobsters]

true detective s1e8 - deleted scene

[pwpoetry]

Q&A with Dora Malech and Laura T. Smith

M: Can you talk a bit about what inspired your close look at the American sonnet? What, as you see it, are the strengths of this prescribed form?

D/L: From the start of this project, we were both struck by the current explosion in the contemporary sonnet—in variety, form, and sheer number—and wanted to place this proliferation in some historical context. Poetic influence is hardly a straight line; we wanted to gather threads and weave the plurality of American sonnet writers like Gwendolyn Brooks, Wanda Coleman, Adrienne Rich, Paul Laurence Dunbar, Emma Lazarus and so many others into conversation with each other and with our moment.  

As this book first started to take shape, we were both teaching sonnet courses and we knew that we were equally interested in the political and aesthetic potentials of very traditional and very experimental approaches to the sonnet. We also wanted to complicate perceived boundaries and delineations between those approaches. Part of the strength of this prescribed form is its own deep history, that sonnets are always layered over other sonnets, so each sonnet gestures toward this history. In some sense, all sonnets become metasonnets. The tradition is on one hand a lot of metatextual clutter, but it's also a lot to draw upon, pieces you can use.  

We created the kind of book we were hungry for as teachers, but also as readers, writers, and scholars. The familiarity and identifiability of the sonnet also makes it a great form for subverting expectations; we hope a collection like ours similarly offers the opportunity for both recognition and provocation.

M: What trends or patterns (or lack thereof) did you notice as you curated your selection of sonnets?

D/L: We always knew that we were interested in telling a story about the way the sonnet form appealed to and was an important tool for marginalized writers: women writers and Black writers and immigrant writers and queer writers of sonnet, for example. We also knew early on that the container of the “American” was problematic but also useful, and I think you see that sense of “but also” all over the book. There's an American story here to be told, but it constantly stretches toward the international—connecting to colonial histories, migration, diaspora—and so the American sonnet is a rubric we chose to retain, with the reservations, complications, and nuance that we hope come through in the book.

In terms of patterns that emerged as we were building the collection, one of things we see clearly in this collection is the distinct lineages—we anticipated a lesbian sonnet, an African American sonnet, a women's sonnet, a jazz sonnet, but there are also lineages of the immigrant sonnet, the diasporic sonnet, the labor sonnet, the minimalist and maximalist sonnets, the narrative sonnet, the prose sonnet. Essayists and poets in this collection center disability and neurodiversity; they celebrate—and, perhaps more notably, question and renounce—Americanness; they translate into and write outside of English. And we hope our collection underscores the fact that these are not innovations and conversations new to the 21st century. The subtraditions and their lineages became an important story here, as did these traditions of troubling and experimentation in form.

M: What most surprised you as you worked on this project? (Any new discoveries about the form?)

D/L: We knew we had a lot to work with going into the project, but as we began to compile lists, the number and range of sonnets was truly staggering. The final book was able to contain just a tiny fraction of what we had compiled. And then we each had individual finds: new sonnets, new sonnet scholars who we weren't familiar with before the project. We hope the book contains surprises for the reader as well: for example, Emma Lazarus’s iconic sonnet “The New Colossus” alongside her sonnet “Assurance,” which remained unpublished until 1980.  

The community that gathered in and around this volume was also a wonderful surprise.

And about the form—we knew this form was capacious, but it is even more capacious than we thought it was. That's a simple thing to say, but it's true. The essays’ various methodologies also yield surprises about the sonnet, so readers should come away with a wealth of approaches not only to how one might write a sonnet, but how one might read a sonnet.

M: What do you hope general readers will gain from this anthology?

D/L: We think that poetry lovers already know that the sonnet is in an exciting time, and we hope that the book adds to that excitement and the sense of the possibility there. But general readers, or student readers, don’t necessarily know this. So, for general readers and students, we hope they get pleasure and surprise from the poems, and that the essays help readers access even more pleasure. And we believe that the sheer aesthetic and historical range of the collection will yield new discoveries and connections for even the most avid reader of sonnets.

[rwpohl]

rage, gilberto gazcón 1966

mein liebster feind, werner herzog 1999

[kavehater]

My entire fyp is chappel roan 🧎‍♀️

[lovelybrandt]

Dora The Explorer Shine Explore Cutie Y2K Series Now on Redbubble Exclusive Merchandise T-Shirts Stickers Mugs Bags Pillows Are Available

[wutheringheightsfilm]

i will say.... onlyoneof are some of my favorite dancers in kpop [gets shot]

[minqies]

i swear if this song doesn't get picked to represent serbia on eurovision this year i will literally kill someone