#''who is the speaker? who are they speaking with? what is the context of the conversation‚ what is the situation?

[royalarchivist]

[A sad violin song plays over an image of a sad hamster]

Pac: This doesn't have anything to do with me – I wear a blue sweatshirt, you're crazy, this mouse doesn't even have a sweatshirt, this hamster! [Reading chat] Am I a depressed hamster?

[ Transcript continued ↓ ]*

–

Pac: Actually– that's fine! I embrace that idea – of course I'm going to be depressed, are you crazy? [He hits his desk, then starts counting off people on his fingers] Fit is gone, Richarlyson is gone, Ramon is gone, Bagi and Empanada who were always there when we were there are also gone, I haven't seen them! It's just me and Tubbo, and sometimes Philza shows up.

Pac: I lost Chume Labs, I lost the Favela, I lost Murder Mystery, I lost Ilha Chume Labs, it's crazy! Look at how much I've lost, and I've gained nothing! Of course I'm going to be depressed, are you crazy?! How am I supposed to be happy?!

Pac: [Reading chat] "You have us Pac," that's true, thank you. No, that's true, sorry.

* NOTE: Please note that this is an incomplete transcript, as I was primarily relying on Aypierre's translation mod at the time and if I am not confident of the translation, I do not include it. As always, please feel free to add on translations or message me corrections.

[airenyah]

hello~ i was rewatching the THK trailer again and noticed something interesting: FadelStyle go from using formal/polite khun/pom pronouns -> informal/rude meung/guu later in the series.

In the trailer, I think I hear Fadel using them in the "I don't like being pursued" line and Style uses them when he says "Whenever I'm with you, you either make me feel so scared, or so damn safe".

I was wondering if you had any Thoughts about that? I was surprised they use rude pronouns when it looks like KantBison keep using khun/pom throughout. Do you think the rude pronouns a sign that FadelStyle are closer or more a feature of their personality/dynamics?

I'm still very confused about how any of the pronoun stuff works, so I apologies if this doesn't make any sense. ^^;;

ah, it's funny you should send me this ask because only last night before i went to sleep did i ramble in a group chat about the pronoun use in ep1 😂

disclaimer: i'm not a thai native speaker and i actually get kinda anxious talking about the thai language publicly out of fear of getting something embarrassing wrong lmao. calling fellow language nerd @visualtaehyun as well as Known Native Speakers™ @recentadultburnout and @happypotato48 for double checks and potential corrections in case i'm blabbering bullshit at any point <3

yeah, in the trailer it seemed to me that fadel and style were consistently using guu/mueng for each other except for when style was trying to flirt with fadel on purpose (as in, when he's flirting for kant and the car, not when he's saying flirty or romantic shit bc he genuinely likes fadel now. or at least that's what i thought was going on upon watching the trailer for the first time kfkdkfdkjkjfd)

so when i watched ep1 i was actually kinda surprised bc i hadn't expected them to consistently start out using phom/khun with each other at first! which probably also comes from the fact that i hadn't expected them to meet on their own before kant hires style to hit on fadel hahaha (like, i didn't think the "my nipples are sensitive" scene would happen before kant sets style onto fadel. i thought at that point he was already very purposefully flirting with fadel for the sake of the mission, but instead it's all style himself just to get on fadel's nerves 😂)

anyway, in ep1 fadel and style use pretty much only phom/khun with each other EXCEPT for style at three very specific points:

he uses "guu" to refer to himself at the very end of the scene of their first meeting when fadel drives off and style shouts something about fadel scolding him like a dad when fadel has left already. i'm like 90% sure i hear him say "guu" in that specific sentence

you probably caught him call fadel "nong" to be an extra little shit when he sat down and made fadel get him those beers

when fadel manoeuvers style out of the restaurant and style is raging he uses phom/khun until the very last sentence where the subs say "i'm gonna take you out!". unfortunately i can't understand the entire sentence that well but he starts the sentence with "guu" and i'm fairly sure i hear the words "เป็นแฟนกู" [bpen faen guu] which translate to "be my boyfriend" and so i'm guessing he's saying something along the lines of "i'll make you my boyfriend" or "you will be my boyfriend" (calling a native speaker to pls transcribe that sentence for me thank youuu 🙏🏻🙏🏻🙏🏻)

so we see that style uses the rude pronoun set guu/mueng when he's annoyed (no. 1) and when he's seriously pissed (no. 3). other than that he sticks to formal/polite pronouns throughout the first episode

however, we know that they're gonna be using guu/mueng for each other regularly at some point from the trailer and there's also that scene in the promo for next episode where fadel asks style who sent him: they're both using guu/mueng in the "who sent you?" "i like you" exchange

so now the question is when and why do they switch from polite to rude pronouns? personally i'm speculating that fadel is gonna start using guu/mueng with style once he's seriously fed up and annoyed by style. bc rude pronouns aren't just used to show closeness/intimacy but also when, you know, you're actively trying to be rude. and i could see fadel switch to the rude pronouns for the exact reason of being rude on purpose in order to emphasize his disdain for style and to give him a hint to fuck off. and i could see style going along with the pronoun switch bc he sure ain't intimidated by fadel and won't go away that easily hahaha

and if that really does happen then i could see them just sticking to the rude pronouns from that moment on, since these pronouns can be used in an informal way too and it does fit their dynamic

also, i just went and rewatched the trailer bc i wanted to see if there were any scenes in which fadel and style use phom/khun for each other that we haven't seen yet and yeah, all the scenes from the trailer in which they do use the polite pronouns are scenes that we in fact all got to see in ep1 already. then we have the "good morning krub" scene happening next episode, which i'm guessing is gonna happen before fadel corners style in the locker room. and i'm guessing at that point they (or at least style) will still be using phom/khun since that's what they've established as their pronouns they use to their face (note how in the above list, style is never standing right in front of fadel, yelling directly into fadel's face when he uses "guu", so fadel likely isn't even aware of it). and i'm also guessing that then when fadel is eventually seriously fed up and suspicious of style, he changes to guu/mueng in order to show his anger and to basically declare a war with style. and style switches to guu/mueng too in order to fight back bc he sure as hell won't let fadel intimidate him

idk what language you have as a first/native language, but mine is german and in german we also differentiate between formal and informal pronouns. although for us it's by far (by FAR) not as nuanced as thai pronouns since we differentiate only two pronouns for the 2nd person: formal "you" (Sie - pronounced "see") vs informal "you" (du - pronounced "doo"). and in german it is absolutely considered rude if you use "du" to address a person you should be using "Sie" for. and you can absolutely show your negative emotions (like anger, annoyance, etc) towards your conversational partner who you should be addressing with "Sie" by suddenly switching to "du", esp when you're trying to start a fight. and yeah i can see fadel switching to rude/informal pronounce in this way, to kind of start a fight with style so style will finally fuck off

and in german, usually once you're on a "du" level of addressing each other (esp if you do it regularly and it wasn't just a one-off sentence in an argument or something) then you usually wouldn't go back to using the formal "Sie" for each other. of course in thai everything is muuuuch more complicated and complex than in german when it comes to pronouns, so this is kinda like comparing apples with oranges. but yeah, i can totally see fadel and style sticking to the rude/informal pronouns since they've already crossed that line. since they've already established that they can use this level (register) of language with each other, so why bother going back to a more formal/polite register?

we'll have to wait and see if i'm right with my speculation about the pronoun switch, though. of course it could happen totally differently than what i think (who knows, maybe they'll hop between guu/mueng and khun/phom for a while depending on their moods, like, whether they're being civil to each other bc the given situation calls for it or whether style is actively hitting on fadel or whether they're annoyed/pissed at each other and basically challenging each other to a fight)

and i don't find it surprising that kant and bison would be using different pronouns for each other. they did meet under completely different circumstances and they have a completely different relationship to each other than fadel and style do

one thing thai and german pronouns have in common is that their usage depends heavily on who is talking to whom and also what situation/context the conversation is happening in. german speaking kids are taught that they have to address adults with the formal "Sie" pronoun unless they're given explicit permission by the adult to use the informal "du". german learners who take it up as a second language are taught that they need to use the formal "Sie" when talking to strangers. however, that doesn't reflect the reality at all. there are situation where you can immediately jump to the informal "du" without asking for permission first even when you don't know the person while if you met this very same person for the first time in a different situation you might have to call them "Sie" or else they'd be offended because using "du" would be very rude in this context

now if we look at bison and kant's first meeting... kant is trying to hit on bison. a rude pronoun that you'd use out of negative feelings or with peers/close friends seems a little inappropriate in this situation, don't you think? it would definitely have made the unsolicited advice sound even worse and more invasive, imo 😂

and also throughout the entire episode their goal is to be polite and friendly to the other person, since, you know, they're trying to get on the other person's good side in order to get something out of it. and even when (and after) they get to know each other, well, intimately, they don't really have a reason to be rude to each other or use more vulgar language, i feel like? UNLIKE fadel and style, who are actively trying to piss each other off

i'm not surprised that fadelstyle and kantbison use different sets of pronouns for each other since the couples have very different starting points with very different goals that require very different strategies in order to successfully get there

i hope i managed to explain it in a way that makes sense to you <3

[belladonnafleur]

welp

[secondpersonpoetry]

hi! heard the released “Merry Christmas, Please Don’t Call” (which i’ve seen you’ve heard live, if i’m not mistaken!!) this morning and i don’t know if there’s really a particular vibe/dynamic/ship hrpf-wise (personally haven’t yet been able to put my finger on it) that quite relates but the lyrics have been rotating in my head all day and i was wondering if you had any thoughts? hope you have a good one! <3

OH ANON HAVE I EVER SEEN IT LIVE!!! and the second that song came out i zoomed it straight into my fic playlist and unfortunately there are so many guys this could be. right now the one that's resonating is, of course, the golden boy and his haunted ghost themselves: mcstrome.

i am thinking about connor, specifically, after the stanley cup final. that game seven. how angry he was, how loud the silence when they told him he won the conn smythe. how close he's come before and again and again lost. there's nobody else to blame but himself. he's in the empty room and he knows why (1)

at!! your best!!! you were magic!!! oh, golden boy. connor the anointed, of course. at the very beginning of his career we always knew he was something special and who wouldn't have fallen in love with him? weren't all of us a little bit dylan strome in awe of the generational talent? we were all bathed in radiant light just by being in the vicinity (2)

don't even tell 'em that you know me breaks my heart (3). in terms of building a narrative i think i've said before there is a universe where connor/dylan were together before the draft and to protect both of them, dylan breaks up with him. connor says i love you and dylan says i don't. because he doesn't, you know? he loved connor. he loved davo. he can't be in love with connor mcdavid, first overall pick of the edmonton oilers. i'd rather be hurt forever than have to watch us try to make this work and destroy us.

and after connor mcdavid left the otters, dylan strome captained them to a memorial cup win. what a haunted home, eh? to be captain of the team you and your best friend were on, only now he's left you? don't call me to tell me about your rookie season with the oilers--we both know about your broken collarbone. don't call me to tell about becoming the youngest captain in franchise history when i stepped into the shoes of your captaincy here. don't call me. (4)

narratively: dylan's the one who broke connor's heart and his own but by god it wasn't easy. we both know what happened, you went first overall. please don't make this harder on me. please don't call.

this verse can be about the weight of dylan having to live up to connor's standards and always being measured by him. i would just like to bring up the connor stepping stone chart for absolutely no reason as well (5)

we are, at long last, at the potential future of now: dylan strome, happy, smiling, thriving on the washington capitals. connor, on the oilers. i'm not yours, dylan can say. haven't been for a long time. it took some time but i made this. please don't call and ruin this for me, stay out of my life. i don't want you or need you (6)

[p.s. this took a while because when i received this ask i was a) immediately possessed to write this verse by verse breakdown i had never thought of before and then b) immediately plagued by the idea of making you a little graphic (above the read more) and finally got to do it after banging out all the actual lyric thoughts two (?) weeks ago. emerging two and a half hours later from the fugue state of GIMP with 37 layers in this bad boy hope you enjoy!!!]

[daz4i]

chat is this anything

(taken from "this is what it's like to be human")

[haru-dipthong]

Gendered pronouns in Japanese vs English

In Revolutionary Girl Utena, the main character Utena is a girl (it says so in the title), but very conspicuously uses the masculine first person pronoun 僕 (boku) and dresses in (a variation of) the boys school uniform. Utena's gender, and gender in general, is a core theme of the work. And yet, I haven’t seen a single translation or analysis post where anyone considers using anything other than she/her for Utena when speaking of her in English. This made me wonder: how does one’s choice of pronouns in Japanese correspond to what one’s preferred pronouns would be in English?

There are 3 main differences between gendered pronouns in Japanese vs English

Japanese pronouns are used to refer to yourself (first-person), while English pronouns are used to refer to others (third-person)

The Japanese pronoun you use will differ based on context

Japanese pronouns signify more than just gender

Let’s look at each of these differences in turn and how these differences might lead to a seeming incongruity between one’s Japanese pronoun choice and one’s English pronoun choice (such as the 僕 (boku) vs she/her discrepancy with Utena).

Part 1: First-person vs third-person

While Japanese does technically have gendered third person pronouns （彼、彼女） they are used infrequently¹ and have much less cultural importance placed on them than English third person pronouns. Therefore, I would argue that the cultural equivalent of the gender-signifying third-person pronoun in English is the Japanese first-person pronoun. Much like English “pronouns in bio”, Japanese first-person pronoun choice is considered an expression of identity.

Japanese pronouns are used exclusively to refer to yourself, and therefore a speaker can change the pronoun they’re using for themself on a whim, sometimes mid-conversation, without it being much of an incident. Meanwhile in English, Marquis Bey argues that “Pronouns are like tiny vessels of verification that others are picking up what you are putting down” (2021). By having others use them and externally verify the internal truth of one’s gender, English pronouns, I believe, are seen as more truthful, less frivolous, than Japanese pronouns. They are seen as signifying an objective truth of the referent’s gender; if not objective then at least socially agreed-upon, while Japanese pronouns only signify how the subject feels at this particular moment — purely subjective.

Part 2: Context dependent pronoun use

Japanese speakers often don’t use just one pronoun. As you can see in the below chart, a young man using 俺 (ore) among friends might use 私 (watashi) or 自分 (jibun) when speaking to a teacher. This complicates the idea that these pronouns are gendered, because their gendering depends heavily on context. A man using 私 (watashi) to a teacher is gender-conforming, a man using 私 (watashi) while drinking with friends is gender-non-conforming. Again, this reinforces the relative instability of Japanese pronoun choice, and distances it from gender.

Part 3: Signifying more than gender

English pronouns signify little besides the gender of the antecedent. Because of this, pronouns in English have come to be a shorthand for expressing one’s own gender experience - they reflect an internal gendered truth. However, Japanese pronoun choice doesn’t reflect an “internal truth” of gender. It can signify multiple aspects of your self - gender, sexuality, personality.

For example, 僕 (boku) is used by gay men to communicate that they are bottoms, contrasted with the use of 俺 (ore) by tops. 僕 (boku) may also be used by softer, academic men and boys (in casual contexts - note that many men use 僕 (boku) in more formal contexts) as a personality signifier - maybe to communicate something as simplistic as “I’m not the kind of guy who’s into sports.” 俺 (ore) could be used by a butch lesbian who still strongly identifies as a woman, in order to signify sexuality and an assertive personality. 私 (watashi) may be used by people of all genders to convey professionalism. The list goes on.

I believe this is what’s happening with Utena - she is signifying her rebellion against traditional feminine gender roles with her use of 僕 (boku), but as part of this rebellion, she necessarily must still be a girl. Rather than saying “girls don’t use boku, so I’m not a girl”, her pronoun choice is saying “your conception of femininity is bullshit, girls can use boku too”.

Through translation, gendered assumptions need to be made, sometimes about real people. Remember that he/they, she/her, they/them are purely English linguistic constructs, and don’t correspond directly to one’s gender, just as they don’t correspond directly to the Japanese pronouns one might use. Imagine a scenario where you are translating a news story about a Japanese genderqueer person. The most ethical way to determine what pronouns they would prefer would be to get in contact with them and ask them, right? But what if they don’t speak English? Are you going to have to teach them English, and the nuances of English pronoun choice, before you can translate the piece? That would be ridiculous! It’s simply not a viable option². So you must make a gendered assumption based on all the factors - their Japanese pronoun use (context dependent!), their clothing, the way they present their body, their speech patterns, etc.

If translation is about rewriting the text as if it were originally in the target language, you must also rewrite the gender of those people and characters in the translation. The question you must ask yourself is: How does their gender presentation, which has been tailored to a Japanese-language understanding of gender, correspond to an equivalent English-language understanding of gender? This is an incredibly fraught decision, but nonetheless a necessary one. It’s an unsatisfying dilemma, and one that poignantly exposes the fickle, unstable, culture-dependent nature of gender.

Notes and References

¹ Usually in Japanese, speakers use the person’s name directly to address someone in second or third person

�� And has colonialist undertones as a solution if you ask me - “You need to pick English pronouns! You ought to understand your gender through our language!”

Bey, Marquis— 2021 Re: [No Subject]—On Nonbinary Gender

Rose divider taken from this post

[1010ninetynine]

honestly i don't agree with terf ideology but to call it colonialist is interesting imo.

it’s always so fucking funny to me when terfs are like “how can you say trans women and women are the same thing! being born as a man makes you different!” because like. yes. trans women and cis women are different. so are black women and white women. and straight women and queer woman. and women from different countries and different socioeconomic statuses. there’s diversity in the experience of womanhood? what a wild concept

[tritoch]

the other thing I find very funny about trying to write a canon compliant wol is taking all the wolship hints extremely seriously.

I don't really wolship because I'm just fundamentally not that kind of fan. But I know for those who are, the sheer number of romance hints FFXIV throws at you can be overwhelming to parse in a context where you have a preferred/intended wolship, particularly if you're not attracted to the gender the hints are coming from in the first place (a particular tip of the hat to wlw fans navigating the g'raha of it all). I've seen plenty of people write around them or write them out or be like "no aymeric was for real inviting my wol to a nice platonic zero-subtext dinner," and God bless all of you.

But it's really funny to imagine them all as all-too-real but unreciprocated or perhaps unreciprocatable. The sheer scale of it is comedy. Spoilers for all of FFXIV follow.

Oh God, the Lord Speaker wants to have dinner, just the two of us, at his family estate and not a government building. I hope he doesn't bring up his crush on me. Thal's balls he's about to bring it up—oh thank God there's an emergency. Oh no someone got hurt! Oh no it's the teenage girl with a crush on me.

Your life is a cosmic joke. You watch the Sultana get poisoned and all your friends probably die to save your life and it's kind of all your fault in some ways, I mean at the very least you should've spoken up when they gave the teenager a private army, and then the teenage boy speaks up and is like, "hey, I guess we have at least one ally. What about if we go visit that guy who is really obviously down unbelievably bad for you and wants to lick the sweat off of you." and you have to be like, yeah, Alphinaud. Great idea. Let's do it. I'll call him.

(brief interlude: also haurchefant's DEATH hits so good if you don't reciprocate. It's okay. He gets it. You're going through a lot and even if you had time to sort through your feelings maybe you're just not into him. That would be okay! You can love someone, or the idea of someone, without needing it to be romantically reciprocated. That's chivalric, even. Knightly. So he won't ask you to lie to him and say you love him as he lies dying in your arms. He's not so low as all that. But could you smile for him as you used to? That true hero's smile of yours. And you do, and he dies. And you both know he died for a lie, in a way, or a flight of fancy. And he's okay with that. Are you? Should you be? Should he?)

Then you're into Stormblood and it's like wow, okay. That last part was all high fantasy, of course there were loyal knights and elegant princes. But this is war. Imperialism. Grim business, surely there's no way—oh no BOTH handsome young revolutionary leaders seem to have a special interest in you?! And so does the Crown Prince of the Empire? Come on, man. I should get to do the whole horrors of war thing without having to also deal with this. Gaius sucked and it was weird that he let his foster daughter run around being openly obsessed with him but at least he never made it my problem.

You can't even get away from it across dimensions. Shadowbringers is a horror story about going on a teambuilding camping trip with your work colleagues for some reason except they all suddenly got really hot and they keep touching you affectionately on the shoulder and being like "I care for you and your happiness. Truly." And also you're being stalked for the whole camping trip by two old men who are obsessed with you. The false climax of the story is that the one old man tries to betray you and give a dramatic monologue about how he loves you but the two of you are doomed by the narrative and then the other old man shoots him in the back like "no actually its MY turn to betray them and give a dramatic monologue about how our love is doomed by the narrative." Then the real climax is old man #1 backstabbing old man #2 in the middle of said monologue before old man #2 dies and gives ANOTHER wistful monologue about his doomed love. Then for the patches they're like okay so we have this even CRAZIER old man who's gonna strike when you're weak and give a dramatic monolo—

and that's without even getting into the literal soulmate ghost only you can see

my warrior of light never felt more betrayed than in that scene where Y'shtola is like "haha Alisaie and G'raha have crushes on the warrior of light." Like I thought we were COOL, Y'shtola! I work here! This situation is already in such a delicate balance! Right when I got here I met Alisaie's "friend from work" who was like oh haha so YOU'RE the one she can't stop talking about and we never followed up on that because the woman died horrifically like five minutes later right in front of us! Then when Vauthry got away and we had to do all that shit with the dwarves, G'raha kept pausing every ten minutes to be like oooooh I'm so old I'm gonna die soon...at least I got to spend some time with some people who are really important to me...in fact here's what I'd tell the person who's most important to me...actually u know them really well haha. And I just had to sit there and be like wow, dude, crazy.

even in the face of apocalypse you still gotta go back in time like 12,000 years and there's somewhere there who makes you sit and listen to his story which is that the purpose of his whole godlike immortal life was to be in a throuple with you and old man #2 from the camping trip. and you just gotta sit there the whole time knowing you/your past life is the one who broke up the throuple over politics. He's like come help me harangue the old man into streaking in public, he'll do it if you ask.

then you meet and fight and kill God and you gotta turn to the team and be like hey sorry guys can you give me a sec. I'm gonna call God by her real name because we met one time for like four days and after that the promise of meeting me again was one of the things that sustained her through her millennia of suffering. Not like that but like. Idk. Just gimme a sec!

It's a relief when you finally get to Lahabrea and he's like actually I still don't fuck with your vibe. Like thank GOD.

And my WoL is very obviously dad-shaped so Dawntrail had a very specific energy for me but I understand that for plenty of people your deepening rapport with Wuk Lamat had a romantic subtext (same for Koana depending on how you read a few of his lines). And personally I think it's the height of comedy to be like, noooo, babe, your highness, I know you and your brother the king are in love with me and want me to stick around and support you emotionally through this governmental transition haha. But it's just...the cursed wineglass, babe. I GOTTA go figure out what's up with this cursed wineglass.

It's a running gag in some of the more optional content that people are like "you have an unreasonable number of hobbies and side gigs" to the WoL from time to time. But if every time you tried picking up a new hobby some new elf started baring their soul to you, you too would be like Hey Jessie (or sometimes Krile or Tataru), my good friend who is one of the only people in my life who knows what professional ethics and work-life boundaries are, any chance you need muscle on a gig on the other side of the world? Ideally with only Cid and his ex so all libidinal energy in the room is directed towards machinery or someone who isn't me?

ironically one of the only places you get a break from psychosexual obsession is the nier content

[dykebyulyi]

microdosing on being American by seeing whatever the fuck some speakers say on your dash

[schizosupport]

One of the curiosities about how psychosis is defined, is the fact that clinically, delusions are defined as strongly held "wrongful" beliefs that don't respond to counter-proof, and that aren't shared with others in a subculture.

In other words, believing even very bizarre conspiracy theories such as "the earth is flat" isn't a delusion, though in a broader linguistic sense it is sometimes referred to as such.

In this post I wanna talk a bit about why that is, and why I do think that it's important to have a distinction between clinical delusions that happen in psychotic illnesses, and strange beliefs that arise in other ways.

So why is it not a delusion if it's shared with a subculture?

I think the reason for this distinction is that delusions experienced by people with psychotic disorders are something that comes from within, rather than something we've been taught to believe. Per definition. Psychotic people aren't particularly "gullible", we don't lack critical thinking skills, we have an illness that make us believe random untrue crap in a way that makes us unable to think critically about it. So while a psychotic belief could be inspired by something we've come across (like a conspiracy theory) our brain is generally gonna take it as a seed and run with it. Therefore we usually quickly get out of bounds from the 'community' that might have inspired our belief anyways.

Overall, we are less prone to having gotten our beliefs from others and are more prone to being the originator of a belief. In something like folie a deux, a non-psychotic person is taught reality from a psychotic delusional person, f.ex. a child growing up with a delusional parent. The child might appear at first glance to be psychotic, but actually they only believe those things because that's what they were taught by someone they consider an authority. If you remove the child from that environment, you will usually be able to help them regain a better understanding. Similarly someone might grow up in a cult. And they are believing what they are being taught, and their parents are believing what they have been taught. And there will be most likely an originator to the cultish beliefs. That person might be maliciously making things up, or they might even be psychotic and delusional. But the people who are being taught these things as facts are behaving like most humans, as social creatures who's reality is defined by their context.

Most people's context is defined along the lines of consensus reality, but if your social context is not aligned with the majority consensus reality, you are still aligned with the beliefs of your social context if you share your weird beliefs with a subculture. Your brain didn't independently come up with a wild belief that is out of touch with everything you know/have been taught.

Consensus reality is a consensus. And even if the consensus you follow is shared by only 2% of the population, if that 2% is all the people you relate to and consider to be the people "in the know", then you are in a way not going against your contextual consensus reality. You've just picked a less popular one.

So what defines a clinical (psychotic) delusion is that it does not align with any consensus about reality that you have access to. It's your own, and it's unlikely that you have allies who are supporting your beliefs. Though in rare cases a clinically delusional person may be contributing new material to a subculture, that others then start believing, and as a result they do share their beliefs with a subculture. But they didn't just learn the belief from the subculture, the belief is growing and morphing independent of the group.

But yeah that's all clinically speaking. In a broader linguistic sense, I think people use "delusional" to refer to anyone who has beliefs that aren't aligned with the majority-consensus-reality, or even more simplistically, that aren't aligned with the speaker's understanding of consensus reality (usually as an insult). So an atheist might refer to the religious as delusional, and vice versa.

It may be a losing battle to get wider society to stop using 'delusional' in this way, but I think it is at least helpful to talk about how such "delusions" differ fundamentally from the psychotic experience.

[writingwithcolor]

Not all Second-Language Speakers are Made Equal.

@waltzshouldbewriting asked:

Hello! I’m writing a story that features a character who’s first language is not English. He’s East African, specifically from Nairobi, Kenya, and is pretty fluent in English but it’s not his primary language, and he grew up speaking Swahili first. I’m struggling to figure out if it’s appropriate or in character to show him forgetting English words or grammar. From what I’ve researched, English is commonly spoken in Nairobi, but it wouldn’t be what was most spoken in his home. For context, this is an action/superhero type story, so he (and other characters) are often getting tired, stressed, and emotional. He also speaks more than two languages, so it makes sense to me that it would be easier to get confused, especially in a language that wasn’t his first. But I’m worried about ending up into stereotypes or tropes. For additional context: I’m monolingual, I’ve tried to learn a second language and it’s hard. A lot of how I’m approaching this comes from my own challenges correctly speaking my own, first and only language.

Diversity in Second-Language English

You seem to have an underlying assumption that second language acquisition happens the same for everyone. 

The way your character speaks English depends on so many unknown factors: 

Where does your story take place? You mention other characters; are they also Kenyan, or are they all from different countries?

Assuming the setting is not Kenya, is English the dominant language of your setting? 

How long has your character lived in Kenya vs. where he is now? 

What are his parents’ occupations? 

What level of schooling did he reach in Nairobi before emigrating? 

What type of school(s) did he go to, public or private? Private is more likely than you think. 

Did his schooling follow the national curriculum structure or a British one? Depends on school type and time period. 

Does he have familiarity with Kenyan English, or only the British English taught in school? 

Is this a contemporary setting with internet and social media?

I bring up this list not with the expectation that you should have had all of this in your ask, but to show you that second language acquisition of English, postcolonial global English acquisition in particular, is complex. 

My wording is also intentional: the way your character speaks English. To me, exploring how his background affects what his English specifically looks like is far more culturally interesting to me than deciding whether it makes him Good or Bad at the language. 

L2 Acquisition and Fluency

But let’s talk about fluency anyway: how expressive the individual is in this language, and adherence to fundamental structural rules of the language.

Fun fact: Japanese is my first language. The language I’m more fluent in today? English. Don’t assume that an ESL individual will be less fluent in English compared to their L1 counterparts on the basis that 1) it’s their second language, or 2) they don’t speak English at home. 

There’s even a word for this—circumstantial bilingualism, where a second language is acquired by necessity due to an individual’s environment. The mechanisms of learning and outcomes are completely different. 

You said you tried learning a second language and it was hard. You cannot compare circumstantial bilingualism to a monolingual speaker’s attempts to electively learn a second language. 

Motivations?

I understand that your motivation for giving this character difficulties with English is your own personal experience. However, there are completely different social factors at play.

The judgments made towards a native speaker forgetting words or using grammar differently are rooted in ableism and classism (that the speaker must be poor, uneducated, or unintelligent). That alone is a hefty subject to cover. And I trust you to be able to cover that!

But on top of that, for a second language speaker, it’s racism and xenophobia, which often lend themselves to their own ableist or classist assumptions (that those of the speaker’s race/ethnicity must be collectively unintelligent, that they are uneducated or low class due to the occupations where they could find work, or conversely that they are snobby and isolationist and can't be bothered to learn a new language). Intersections, intersections.

If you want to explore your experiences in your writing, give a monolingual English speaker in your cast a learning disability or some other difficulty learning language, whatever you most relate with. And sure, multilingual folks can occasionally forget words like anyone else does, or think of a word in one language and take a second to come up with it in the other language. But do not assume that multilinguals, immigrants, or multiethnic individuals inherently struggle with English or with multiple languages just because you do.

~ Rina

[pomefioredove]

Hey Dove~

I was reading through the different headcannons and the mute reader really caught my attention. Could you possibly do the Vice Wardens (including Ruggie cuz he's basically second in command anyway) with Yuu that has a speech impediment? Basically they stutter/stumble on words, get them mixed up, pronounces them wrong, and maybe forgets certain words. And obviously with new arcana and magical words (and the weird ahh names some of these characters have) they can get pretty frusterated or embarressed.

You always have such good headcannons!! Feel free to throw in any other characters that you like to the mix as well!!

OH this hits close to home too. I stutter and mispronounce things when I do speak, so I'm using that for reference

twst x mute reader

*ੈ✩‧₊˚ reader with a speech impediment

summary: as described type of post: headcanons characters: trey, ruggie, jade, jamil, rook, lilia additional info: romantic or platonic, reader is gender neutral, reader is not specified to be yuu

see, I don't think Trey would say anything about it

he's not one to criticize strangeness

that would be rude, first of all

second of all, there's no such thing as "normal" at NRC

(even so, some people may point it out, but he's not one of them)

he doesn't have any trouble understanding you, either

he grew up with younger siblings who pronounced owl as "awa" and kitty as "shishi" until they were six

he's certainly patient

and he knows how to use context

*ੈ✩‧₊˚

honestly? Ruggie didn't even... notice?

for a while, he just thought you talked fast

he knows how it goes; you get excited or nervous or whatever, and you end up stumbling all over yourself

no biggie

then one day you come up to him all sad and teary, apologizing for a speech impediment he didn't even know you had, and he's like...

...oh! no!

of course he's not annoyed!

Ruggie's an adaptive guy, after all. when he wants something, he'll bend backwards for it

you think a little stuttering is gonna stop him from being friends with you?

*ੈ✩‧₊˚

much like Trey, Jade doesn't say anything

he just watches you talk

and smiles

like this -> :)

it's not that he's particularly concerned about being rude, he's just...

observing

humans are such fascinating creatures, he thinks

he learns all of your quirks just by listening to you

which words you have trouble with, which ones you mix up and forget, which consonants you stumble over...

he teaches himself your language

and he becomes a sort of translator for you

any time someone is rude to you, he'll come out of nowhere and tell them everything you said in the exact order you said it

weird, but nice

*ੈ✩‧₊˚

to put it plainly, Jamil has bigger problems

whether or not he can understand you doesn't really matter to him

it's not his job to worry over you

then, you come to him asking for help, and...

...well, he's flattered

he can't deny he likes that you come to him for guidance before anyone else

because of this, (and because he had to learn how to control his own tongue when he was little), he takes pity on you

whether your goal is to work on your speech, or to simply feel less anxiety about it, he's there

*ੈ✩‧₊˚

is it cliche to say that Rook already knows exactly what you're thinking?

perhaps, but it's true

he's mastered the art of observation

he can read your thoughts in your expression, your body language, even the slightest twitch in your lips gives you away

he just knows

you don't have to be a good speaker, or a speaker at all, to communicate with Rook

(and he can do all the talking for you if you'd like, he'd probably enjoy that)

and, of course, he is of the opinion that there is beauty in everything

you don't need to be perfectly clear and concise for him to like you

*ੈ✩‧₊˚

now, I can't guarantee that Lilia won't tease a little

only in good fun, of course

and only if you respond in kind

but he does find it rather cute when you mispronounce something, or mix up your words

he won't correct you or interrupt you, either

he'll step in to help if you're really struggling, of course, but he thinks of you as capable

he does remind you to take breathers when you're getting too anxious about it, though

he cares <3

[noaestheticacademic]

On the Identity of "Chat"

Like all the linguistics folks on Tumblr, I've been sent the "chat is a fourth person pronoun" post by a bunch of well-meaning people and and I've been thinking waaay too much about it. @hbmmaster made a wonderful post explaining exactly why "chat" ISN'T a fourth person pronoun, and after reading it I wanted to go a little deeper on what it might actually be doing linguistically, because it is a really interesting phenomenon. Here's a little proposal on what might be going on, with the caveat that it's not backed up by a sociolinguistic survey (which would be fun but more than I could throw together this morning).

On Pronouns

Studying linguistics has been really beneficial for me because understanding that language is constantly changing helped me to become comfortable with using they/them pronouns for myself. I've since done a decent amount of work with pronouns, and here are some basic ideas.

A basic substitution test shows that "chat" is not syntactically a pronoun: it can't be replaced with a pronoun in a sentence.

"Chat, what do we think about that?"

"He*, what do we think about that?" (* = ungrammatical, a native speaker of English would think it sounds wrong)

Linguists identify pronouns as bundles of features identifying the speaker, addressee, and/or someone outside the current discourse. So, a first person pronoun refers to the speaker, a second person pronoun refers to the addressee, and a third person pronoun refers to someone who is neither the speaker nor the addressee (but who is still known to the speaker and addressee). This configuration doesn't leave a lot of room for a "fourth" person. But the intuition people have that "chat" refers to something external to the discourse is worth exploring.

Hypothesis 1: Chat is a fourth-person pronoun.

We've knocked this one right out.

Hypothesis 2: Chat is an address term.

So what's an address term? These are words like "dude, bro, girl, sir" that we use to talk to people. In the original context where "chat" appears - streamers addressing their viewers - it is absolutely an address term. We can easily replace "chat" with any of these address terms in the example sentence above. It's clear that the speaker is referring to a specific group (viewers) who are observing and commenting on (but not fully participating in) the discourse of the stream. The distinction between OBSERVATION and PARTICIPATION is a secret tool that will come in handy later.

But when a student in a classroom says "wow chat, I hate this," is that student referring to their peers as a chat? In other words, is the student expecting any sort of participation or observation by the other students of their utterance? Could "chat" be replaced with "guys" in this instance and retain its nuance? My intuition as a zillenial (which could be way off, please drop your intuitions in the comments) is that the relationship between a streamer and chat is not exactly what the speaker in this case expects out of their peers. Which brings me to...

Hypothesis 3: chat is a stylistic index.

What's an index in linguistics? To put it very simply, it's anything that has acquired a social meaning based on the context in which it's said. In its original streaming context, it's an address term. But it can be used in contexts where there is not a chat, or even any group of people that could be abstracted into being a chat. Instead, people use this linguistic structure to explicitly mimic the style which streamers use.

And that much seems obvious, right? Of course people are mimicking streamers. It doesn't take a graduate degree to figure that out. What's interesting to me is why people choose to employ streaming language in certain scenarios. How is it different from the same sentence, minus the streamer style?

This all comes down to the indexicality, or social meaning, of streamer speak. This is where I ask you all to take over: what sorts of attitudes and qualities do you associate with that kind of person and that kind of speech? I think it has to do with (here it comes!) the PARTICIPANT/OBSERVER distinction. By framing speech as having observers, a speaker takes on the persona of someone who is observed - a self-styled celebrity. To use "chat" is to position oneself as a celebrity, and in some cases even to mock the notion of such a position. We can see a logical path from how streamers use "chat" as an address term to how it is co-opted to reference streamer culture and that celebrity/observer relationship in non-streaming mediated discourse. If we think about it that way, then it's easy to see why the "fourth person pronoun" post is so appealing. It highlights a discourse relationship that is being invoked wherein "chat" is not a group but a style.

[factsinallcaps]

I have to know-- what's ur opinion on this

LOOK, I'M JUST GOING TO, RIGHT HERE, ANSWER THE MANY, MANY "BUT COULD YOU PRONOUNCE THIS A CERTAIN WAY IF YOU PRONOUNCED ALL THE LETTERS DIFFERENT THAN THEY SHOULD BE PRONOUNCED" MESSAGES I'VE BEEN GETTING

THE ANSWER IS NO, YOU CANNOT TAKE LETTERS-AS-USED-IN-ONE-WORD AND TRANSPLANT THEM TO PLACES IN OTHER WORDS AND EXPECT THEM TO BEHAVE THE SAME. THE W IN "ANSWER" IS THE SAME W THAT'S IN "WALL." THE "H" IN "GHOST" IS THE SAME ONE THAT'S IN "HELP." "T" IN "LISTEN" IS THE SAME ONE THAT'S IN "TANK," AND THE EXTRA "A" IN "AARDVARK" IS NO MORE SILENT THAN THE SECOND "O" IN "DOOR." TWO A'S IN A ROW MAKES A DIFFERENT SOUND THAN ONE A IN A ROW.

THE REALITY IS, IF YOU TOOK THOSE LETTERS OUT OF THOSE WORDS, AND PUT THEM TOGETHER AGAIN TO SPELL "WHAT," THEY WOULDN'T BE SILENT ANYMORE, BECAUSE THEIR PRONUNCIATION, OR LACK THEREOF, IS BASED ON THE CONTEXT OF WHERE THEY FALL IN THE WORD, AND WHAT THEIR ETYMOLOGY IS. IF YOU TOOK ALL THOSE LETTERS AND REASSEMBLED THEM INTO "WHAT," IT WOULD BE PRONOUNCED LIKE "WHAT."

A LOT OF PEOPLE KEEP ASKING THESE QUESTIONS BASED ON THE CONCEPT OF WHETHER IT'S "VALID" TO PRONOUNCE CERTAIN LETTERS SPECIFIC WAYS, BASED ON THE FACT THAT THEY'RE PRONOUNCED THAT WAY IN CERTAIN WORDS. UNFORTUNATELY FOR THEM, LETTERS HAVE NO INHERENT PRONUNCIATION WHATSOEVER. THEY'RE PRONOUNCED THE WAY WE PRONOUNCE THEM BECAUSE OF A COLLECTIVE AGREEMENT BY SPEAKERS OF ANY GIVEN LANGUAGE TO PRONOUNCE THE LETTERS USED IN THAT LANGUAGE'S ALPHABET IN MUTUALLY AGREED-UPON WAYS.

SOMETIMES THERE'S SPECIAL-USE CASES THAT COME FROM A WORD'S ROOT LANGUAGE-- FOR INSTANCE, "J" IS PRONOUNCED DIFFERENTLY IN SPANISH AND ENGLISH. THE WORD "FAJITA" EXISTS IN ENGLISH, AS IN ITS ORIGINAL SPANISH, AND THE J IS STILL PRONOUNCED THE SAME WAY AS IT WAS IN SPANISH

AND, CRUCIALLY, THERE IS ALREADY A MARGIN-OF-ERROR IN WHAT WE ALLOW RE: PRONUNCIATION. THIS IS HOW DIFFERENT DIALECTS AND ACCENTS FORM. MY APPALACHIAN COUSINS AND I UNDERSTAND THAT EVEN THOUGH I'M SAYING "WIN-DOH" AND THEY'RE SAYING "WIN-DER," WE'RE BOTH SAYING THE SAME WORD: "WINDOW," BECAUSE -OW AT THE END OF A WORD IS PRONOUNCED DIFFERENTLY IN MY ACCENT AND THEIRS. WHEN SOMEBODY WALKS UP TO ME AND SAYS "LET ME ASK YOU A QUESTION" BUT THEY PRONOUNCE IT LIKE "AXE," I KNOW WHAT WORD THEY'RE USING.

I'VE MET PEOPLE NAMED, FOR INSTANCE, ROXHINA AND UXHINE, PRONOUNCED IDENTICALLY TO THE ENGLISH NAMES "REGINA" AND "EUGENE," BECAUSE IN THEIR FAMILY'S LANGUAGE, THOSE LETTERS WERE PRONOUNCED DIFFERENTLY.

I HAVE ALSO SEEN PEOPLE SPELL THINGS INCORRECTLY, IF SERVICEABLY, IN WAYS THAT IT'S EASY TO LET SLIDE BECAUSE IT'S CLEAR THEY WERE GOOD-FAITH EFFORTS TO COMMUNICATE THE MEANING OF THE WORD-- FOR INSTANCE, IN A BAR I SOMETIMES WORK AT, THERE IS A BOX LABELED "CHAMPAIGN GLASSES." THAT'S NOT THE CORRECT SPELLING, BUT ANYBODY WHO KNOWS HOW TO PRONOUNCE THE WORD "CHAMPAGNE" IS GOING TO UNDERSTAND WHAT THE LABEL MEANS. THAT'S ALL LANGUAGE IS-- A GOOD-FAITH EFFORT TO CONVEY MEANING BASED ON A SHARED UNDERSTANDING OF WHAT WORDS MEAN AND HOW THEY ARE CONSTRUCTED.

ALL OF THIS WAS VERY EASY FOR ME TO ACCEPT! BUT IF SOMEONE FROM APPALACHIA, WHO SPEAKS THE SAME LANGUAGE AS ME, WROTE THE WORD "XHOWL" ON A PIECE OF PAPER AND EXPECTED ME TO UNDERSTAND THAT IT MEANT "GIRL," BECAUSE IN ALBANIAN "XH" IS PRONOUNCED "G" AND IN APPALACHIA "OW" IS SOMETIMES PRONOUNCED "ER," I WOULD NOT FEEL LIKE THEY HAD MADE A GOOD-FAITH EFFORT TO EFFECTIVELY COMMUNICATE THE WORD "GIRL."

SO MY ULTIMATE ANSWER HERE IS THAT I DISAPPROVE OF ATTEMPTS TO FIND ESOTERIC WAYS TO PRONOUNCE LETTERS OR SPELL WORDS THAT MAKES IT IMPOSSIBLE FOR SOMEONE TO MAKE THAT GOOD-FAITH EFFORT. WHETHER IT'S "YOU CAN SPELL FISH AS GHOTI, AS LONG AS YOU SAY ALL THE LETTERS WRONG," OR "YOU CAN PRONOUNCE 'WHAT' SILENTLY IF YOU DON'T SAY ANY OF THE LETTERS" I AM GENERALLY NOT IN FAVOR OF THESE FAKE-DEEP, DESPERATE-TO-BE-CLEVER ATTEMPTS AT SAYING "YOU KNOW, IF YOU DISRESPECT THE LISTENER AND/OR READER'S GOOD-FAITH EFFORT TO UNDERSTAND YOU BY MAKING AN INTENTIONAL EFFORT TO BE DIFFICULT TO UNDERSTAND, THEN ENGLISH HAS NO RULES!"

IF ANYONE IS INTENDING TO SEND ME A "WHAT ABOUT--" SORT OF MESSAGE TO THIS, REFER BACK TO THE BEGINNING OF THIS POST AND THEN KEEP READING UNTIL YOU DON'T SEND THAT MESSAGE.

TL;DR - ANYONE WHO SAYS SHIT LIKE THIS WAS ALREADY MOCKED IN THIS COMEDY SKETCH AND I ROUGHLY AGREE WITH MESSRS. FRY AND LAURIE

[featguler]

we don't talk about it ────── you don't have the time — arda tries convincing you to come to his game.

♡ ────── pairing : arda güler x reader ♡ ────── tags : reader's gender, ethnicity, nationality, and appearance is not specified. situationship!arda guler. reader speaks turkish n is speaking turkish with arda in this. angsty i guess??? i keep asking myself why i keep on giving him these stressful situationship scenarios omfg ♡ ────── wordcount : 715 ♡ ────── notes : more situationship arda i literally dc. also sorry for not posting in a while im tiiiired with work and my intern!! >:(( title is from august by flipturn!! ♡ masterlist.

“So you can’t come?”

Arda breathes into the mic, his eyes immediately fluttering close as he hears shrugging on your end, his phone trapped between his shoulders and his ears.

“Yeah.”

Arda tries imagining you right now. He tries imagining the expression on your face, he tries imagining what you are doing—swaying around, sitting down, biting your nails, rolling your eyes—and he lets his fantasies feed more into his imminent heartbreak.

He is in the changing room. Practice was rough that day, though he thinks that maybe it’s just him. Brahim seems to be having the time of his life, and Federico is somewhere talking to Antonio about the shenanigans that his kids, plural now that the youngest have turned one, have been up to lately.

And the room is far from quiet.

It’s alive—full of Eduardo chanting a Spanish song that Vinícius just taught him, full of Jude giggling as he texts his family group chat, and it’s full of Arda’s ailing heart beating against his ribs.

“Sorry,” you mumble to his speaker. Normally, Arda would find a way to voice his disappointment; he would click his tongue, he would thump his head against the wall, he would hang the call and scream into his mouth. But not right now.

“It’s in a week,” he tries negotiating, “not a week, even. 10 days. It’s in 10 days.”

The background noise increases—maybe he’s hallucinating—and Arda decides that he wouldn’t let anyone notice his distress.

No.

A part of him is embarrassed that he’s mulling so much over someone who he has been pining for for ages. He wonders if his older teammates, like Toni or Luka, know what a situationship is. His mother certainly does not. He asked her.

And sure there’s nuances and context in every relationship, but it somehow feels humiliating to explain to his teammates that he’s sad over someone who he is crushing on, but is technically going out with, but also not dating, yet is in a relationship with.

“I know, Arda,” he hears something shifting on your end. “It’s just that I promised my friend that we would go hang out.”

“You can hang out at the Bernabeu,” he encourages, still, his voice light despite the disappointment anchoring his chest. “I’ll get you the tickets.”

Arda opens one eye and watches the changing room, making sure that nobody is giving him their time of day.

“I asked you a few days ago,” he mutters quietly, rubbing the back of his neck rather harshly at the pent up frustration he’s developed every time he speaks to you. “I mean, I asked you first. It’s not fair.”

“Not fair?”

You echo him, and Arda lets out a rather long, extravagant sigh.

“Sorry.”

“We’re not—” you sigh. “Not fair? And whose fault do you think that is?”

Arda bites his lips, thinking over his words.

“Sorry.” He sighs again. “My fault. It’s my fault.”

“Right,” you huff into the speaker.

“Right,” he repeats, before uttering out a weak, “I miss you.”

You didn’t answer him for a moment, and Arda fears that he might have lost his hearing, but he eventually hears a breath.

“I miss you too.”

“I miss you more.”

A stupid smile etched on his lips—an idiotic, hopeful smile.

“Whatever.” He can basically see you roll your eyes. “I’m still not coming. I’m not coming to any of your games, you hear me?”

Until you make it official. He can basically hear you say.

He’s had this conversation a million times, and for some reason, it’s not enough push for him to commit to a relationship. He feels like if it were anyone else, he would not have much of an issue in putting a label on your relationship.

But it’s you.

And he has spent so long wanting you. What if you become his, and then you leave? You break up with him, leave him shattered? There is no breakup if there is no relationship in the first place—the senseless voice in his head keeps on whispering—there is no being left alone if he never decided to stay.

“Tell me if you change your mind.”

You huff to the phone again. “See you, Arda.”

He holds back an I love you, and laughs softly.

“I’ll see you around.”

[elysiansparadise]

hello! I hope things are well with you 💕 if it’s possible, I would love to hear your thoughts on Neptune in the 3rd house :)

Hello love! I have been slightly busy these days, but everything is fine. I would love to give you my takes on this placement. 💕

Neptune in the 3rd house

Talking to them is a unique thing, they have very deep perspectives on life, wonderful ideas capable of surprising many and the ability to see beyond the things, people and circumstances that occur around them. Naturally poetic, they dislike things that are too simple and for them a soul-touching pinch is necessary in everything that enters their minds [books, movies, music, videos, etc]. Their words can easily move the audience, there is an ethereal and touching beauty in their way of speaking. Captivating speakers even without intending to. They are an interesting and valuable mystery to discover, and I define them as a mystery because they do not usually share their ideas or thoughts with anyone, since they border on the introverted and reserved side, or in some cases even shy. They may have a great interest and knack for some branch of art, especially that which includes communicating ideas or feelings, being very effective in doing so. Many of them may doubt their abilities and also their intelligence or ability. They may be very interested in obtaining all kinds of knowledge, especially about topics that people do not dare to investigate, spiritual topics or topics that make them know themselves better on a deeper level.

In these people lies the wound of not feeling heard by their close circle, of feeling that for others what they had to say was not important, which made them close down. Within them there is a mind full of amazing ideas, an outstanding creativity that allows them to find many solutions and see things from different perspectives. They tend to be frequently distracted by the tendency to want to do several things at the same time. Daydream tendency regarding doing things they want to do or what their ideal life would be like. They may prefer deep conversations over small talk. However, these people stand out for being amazing counselors, this is due to their empathy, which makes them not advise from the point of view of what they would do, but rather what they would do if they were and lived in the context of the person. who comes to them. They have the quality of making others feel heard and understood, making conversations with them feel comfortable and natural, even if it is the first time you speak to them.

They may have difficulty following very demanding schedules or routines, preferring to do things at their own pace. They are more likely to be easily distracted and change the subject quickly. Their mind is intuitive, their sixth sense is rarely wrong, as they are excellent when it comes to reading and understanding everything around them, having the ability to read between the lines and detect all kinds of discrepancies. They adapt very easily to their environment and it is extremely difficult to lie to them. If you're not part of their inner circle or if they don't trust you yet, you'll suddenly have that epiphany: they know so much about you while you seem to know little about what lies within them. They are people with multiple interests, a curious and creative mind that leads them to dream big. Great minds that can doubt their own potential, the value of their thoughts and words even when beauty and uniqueness can be found in them. People with compassion and an ability to understand things that perhaps others are not ready to understand. They have the feeling of not finding the right words to explain what is happening inside them. Their heart can often guide their minds. The human quality in them is something that makes them beautiful beings with whom to cross paths, always leaving teachings and words that remain marked in the core of those who know them.