#Innocence and Power Dynamics

[omegaphilosophia]

The Philosophy of Innocence

The philosophy of innocence explores the concept of innocence in various philosophical, ethical, and metaphysical contexts. It examines the nature, significance, and implications of innocence in human life, society, and moral reasoning. The idea of innocence often intersects with discussions on morality, justice, knowledge, and human nature.

Key Themes in the Philosophy of Innocence:

Moral Innocence:

Definition: Moral innocence typically refers to the absence of guilt, wrongdoing, or moral culpability. It is often associated with purity, goodness, and a lack of corruption.

Childhood Innocence: A common theme in the philosophy of innocence is the idea that children are born innocent, free from the moral failings of adults. This notion ties into debates about nature versus nurture and the inherent goodness or corruption of human beings.

Loss of Innocence: The concept of losing innocence, particularly through exposure to the realities of life, wrongdoing, or moral complexity, is a significant topic. It often involves the transition from ignorance or purity to knowledge and experience, which can be both enlightening and corrupting.

Innocence and Knowledge:

Innocence as Ignorance: Philosophers have debated whether innocence is inherently tied to a lack of knowledge or experience. In this view, innocence might be seen as a state of ignorance—free from the burdens of moral or existential knowledge.

Innocence and Wisdom: Conversely, some perspectives suggest that true innocence can coexist with wisdom, where a person remains morally pure despite being knowledgeable or experienced. This idea often appears in religious or spiritual contexts, where enlightenment is associated with a return to a state of innocence.

Legal and Ethical Innocence:

Presumption of Innocence: In legal philosophy, the presumption of innocence is a foundational principle that asserts an individual is considered innocent until proven guilty. This principle is crucial in ensuring fairness and justice in legal proceedings.

Innocence and Punishment: Philosophical discussions on justice often grapple with the treatment of the innocent, particularly in the context of wrongful punishment or the moral implications of harming those who have done no wrong.

Innocence and Experience:

Romanticism and Innocence: The Romantic movement in literature and philosophy often idealized innocence, particularly the innocence of nature and childhood, as an antidote to the corruption of society and industrialization. Romantic philosophers and poets like Rousseau and Wordsworth saw innocence as a state of harmony with nature and a source of moral and spiritual purity.

Innocence in Modern Philosophy: In contemporary philosophy, innocence might be examined in relation to existential themes, such as the loss of innocence in the face of absurdity or the recognition of one’s moral and existential responsibilities.

Religious and Metaphysical Innocence:

Innocence and Sin: In many religious traditions, innocence is closely associated with the state of being free from sin. The story of Adam and Eve in the Bible, for example, symbolizes the loss of innocence through the knowledge of good and evil.

Salvation and Innocence: In Christian theology, the concept of original innocence and the possibility of regaining innocence through redemption or salvation is central. This connects to broader metaphysical questions about the nature of humanity, sin, and divine justice.

Innocence and Power Dynamics:

Innocence and Victimhood: The idea of innocence is often linked to victimhood, where those who are innocent are seen as vulnerable to harm or exploitation. This has implications for discussions on power, justice, and the moral duty to protect the innocent.

Innocence and Authority: Philosophers also explore how innocence is manipulated by those in power, whether through propaganda, legal systems, or cultural narratives. The portrayal of certain groups as innocent or guilty can shape social and political dynamics, often reinforcing power structures.

The philosophy of innocence is a rich and multifaceted area of inquiry that touches on moral, legal, religious, and existential dimensions of human life. It raises important questions about the nature of morality, the role of knowledge in shaping human experience, the dynamics of power and justice, and the spiritual or metaphysical significance of innocence. Through these explorations, the concept of innocence remains central to our understanding of human nature, ethics, and society.

[inkempressz]

Yandere older cowboy x reader

The desert wind whispered through the cracked boards of the ranch house, carrying the scent of hay and the distant growl of coyotes. The old cowboy sat on the porch, his broad shoulders hunched over a battered flask, his weathered hands clenching it like a lifeline. His face, rough and shadowed by years of sun and hardship, was a mask to most—but when you looked at him, it softened into something sacred. Something dangerous.

You were the boss’s child—soft-spoken, delicate as a petal, with eyes that seemed untouched by the cruelty of the world. He had watched you grow from a curious kid chasing chickens to someone with an easy smile and a heart too pure for a place as harsh as this. He watched you more than he should.

Your father had hired him because no one else could keep the ranch in check. He was as wild as the stallions he broke, as relentless as the sun that scorched the earth. Yet, when your sweet voice called to him, asking about the horses or offering him lemonade with trembling hands, something inside him twisted, black and possessive.

He told himself it was protection. The world was cruel, after all. People were cruel. They’d see your kindness, your innocence, and they’d tear it to pieces. He wouldn’t let them. Not the ranch hands who leered at you when they thought no one was looking, not the drifters who passed through town with eyes like predators. And not your father, who worked you too hard, made you carry burdens you weren’t meant to bear.

Late at night, when the ranch was quiet, he sat in his darkened room, staring at the moonlit photograph he’d taken of you at the last harvest festival. You’d never know he’d snapped it, nor how many times he’d traced the curve of your smile with his calloused thumb. The thought of you trusting him, leaning on him, made his chest ache with a need he didn’t know how to control.

You trusted him too much. You smiled at him like he was a gentle giant instead of a wolf in sheep’s clothing. You told him about your dreams—of leaving the ranch, seeing the cities you’d only read about in books. Each word cut deeper than the last because he knew the world wasn’t meant for you. It would ruin you.

No, you belonged here. With him.

It was a quiet evening when you found the stray kitten by the barn, its mewling cries drawing you away from the house. He had followed you, his heavy boots crunching against the dirt, though you didn’t hear him at first. When you finally turned, holding the trembling creature in your hands, you smiled at him like you always did.

“I think he’s scared,” you said softly, your voice like honey in the cool night air.

He didn’t respond. His eyes locked on yours, the warmth of your trust glowing like a lantern in the dark. You trusted him so much you didn’t even flinch when his massive hand reached out to stroke the kitten. But he didn’t touch the animal. Instead, his fingers brushed against yours, rough and calloused, dwarfing your delicate hand.

“You’re too good for this world,” he finally said, his voice low and hoarse.

You laughed, a sound so light and naive it made his stomach churn. “That’s not true.”

But it was true. Too good. Too soft. You needed someone strong to keep you safe. Someone like him.

The kitten wriggled free, darting into the shadows, but he didn’t move to chase it. His hand lingered, gripping yours now, a shade too tight. Your smile faltered, a flicker of unease in your bright eyes.

“You should head inside,” he said, his voice calm, though his grip didn’t loosen. “It’s getting dark.”

You nodded, your trust outweighing your instinct, and as you turned to walk away, he stayed rooted in place, watching your retreating figure.

You didn’t see the storm behind his eyes.

You never would—until it was too late.

[deltaruiner]

do u guys think homura limits and monitors madokas phone time like an overbearing mother in the new movie. to like guard her from like finding out the truth via other magical girls online. or twitter

[dykedvonte]

I keep seeing fanarts of ppl's OC's being on the ship, so do you think that if there was 6st crewmember (specifically, another woman) Anya would've been more safe? Like, someone to actually call Jimmy's begaviour out, someone Anya might wanna trust? Is there a possibility something might have changed (even if a little) or it would not have mattered at all?

-💀

I feel like the game would make it part of the commentary on where she would believe and help Anya but still be sort of dismissive? Like the whole “don’t waste time crying and being scared keep going and move on, don’t let him win”. It’s supposed to be positive and reinforcing but sometimes it does more damage in those times of mourning and grief, it feels patronizing, like you don’t understand what you’re going through but they do. Even if they did call out his behavior it’s still on Curly to act and while another voice would help, it’s still 4 against 2 on guys that don’t get it until they have to vs women who always have to.

I don’t mind mouthwashing OCs but I do get a bit bored as they tend to be borderline saviors or like Jimmy aligned. They are either more complicit than Curly or just Jimmy haters for no reason, outside of what the creators know about what he did to Anya. I am never irked by OCs but in a story like mouthwashing you really need to think about what your character adds to the commentary, especially if they are there during the crash. It’s nice to have like characters on Anya’s side more whole heartedly and interesting to see characters who placate Jimmy but sometimes it’s one note.

I can’t and don’t want to police peoples OCs it’s never my intention when I comment on trends I notice, but I do feel like the way people make their OCs interact with these two characters and especially Curly, really show a grave misunderstanding of the narrative and these characters as people vs roles in the story. Still, I know people just make up characters for fun and that’s fine. Great even, but I guys I’m focusing more on OCs that are supposed to have those serious dynamics. My favs tend to be pretty-Tulpar or post-Tulpar au OCs.

The inevitably of the crash is on Jimmy. He did that not because he wasn’t stopped but because all his means to kill Anya were taken. The gun, the axe. Even if Curly did strip him of his co-pilot privileges and try to keep him contained there’s only so many people. An extra body helps but they have jobs they have to do, he’s the only one steering the whole ship and Jimmy would likely have an out: food, bathroom, etc. He’s not new and if he couldn’t crash the ship directly, who’s to say he wouldn’t sabotage something else? A clunker like the Tulpar wouldn’t take much. An extra person helps but it’s just another thing that prolongs what a person like Jimmy is willing to do to shirk responsibility.

It’s more than just needing someone to stand up to him and think that’s what is missing when it comes to inserting a character into the mouthwashing setting.

[the-blossica-fan]

Side note, I ended up stumbling upon Lucy/Simone twitter, and I gotta be honest I see the vision!

Like, at first, you think it's your typical struggling assistant/eccentric boss based on the trailer. But then you actually *get* to the chapter, and it turns out nah nah nah. Simone is extremely used to working under Lucy and, in fact, understands how she thinks very well. She knows exactly what to say to keep Lucy motivated and on task during times of high stress and knows her limits. Simone also never forgets that Lucy isn't "human," so there are things that she might not understand, but she'd appreciate knowing the answer to.

Lucy, vice versa, trusts Simone implicitly. She tells Simone her plans and knows that even if Simone doesn't "get it," she'll do everything in her power to see it done. She also doesn't question Simone's insights or dismiss her questions, showing a level of respect befitting towards an assistant. Simone is Lucy's subordinate, but (probably because she's an Awakened) she doesn't treat Simone as actually beneath her.

Which is why I think that even if Lucy is "on vacation" in Vertin's suitcase, Simone is there too. We never saw Simone lose her position as Lucy's assistant, so clearly, that's still her job. When asked, Simone clarifies that on all official documentation, she is listed as Lucy's assistant, not the director of Laplace's assistant. So until Lucy herself deems her presence unnecessary, by her side, she will stay. Lucy nods and will immediately explain the benefits of keeping Simone with her and that Vertin is free to request her assistance in administrative duties if need be. Vertin wisely realizes their relationship is like Madame Z and Toothfairy's and wishes them a pleasant time in the suitcase and to let her or Sonnetto know if there is anything they need before leaving, making a mental note that despite her words Lucy just seems happier having Simone at her side.

YES

YES YES YES YOU SEE IT TOO

Lucy x Simone is an interesting ship because despite being Boss x Secretary, it's a break in the usual formula, and it's also not just quirky boss and tired secretary either, they both understand each other and know how to keep the other going.

It's such a good ship and I love it so much I need people to talk to it about me as passionately as we do about every other ship. I think it's pretty underrated.

Lucy is certainly non human, and it shows a lot in everything she does, yet Simone is never truly bothered by it. She doesn't question Lucy because she knows what she's doing, so much different from everyone around her who views her as someone who doesn't understand humanity.

It's just so good man, I think most R1999 ships break an already established formula in the most interesting way and it should be pointed out more, it makes them more compelling and endearing even if you don't ship it.

That being said

HELL YEAH WE GOT A NEW LUCY X SIMONE ENJOYER GOD IS GOOD

[beatsheetromanroy]

Castiel + Born Sexy Yesterday, part i

[scramratz]

I have read hundreds of theories on what Revolutionary Girl Utena is about, and given the nature of the show, all of them are correct.

[wiseabsol]

Potentially heartwarming Dracula: The Danse Macabre thought: Dracula will now get to experience the sunrise and the day-lit world again for the first time in centuries, thanks to his connection with Mina. Also, if she saw him in her mirror, staring back at her, does that mean he too gets to see himself for the first time in centuries through her eyes?

[ctrl-alt-deleting-yr-face]

okay to those of you who saw my last rb and care about my stupid guilty gear au. i NEED to rant right now. Massive long winded about bedkari (aka bedman x hikari, my stupid ship that’s part of reverie of rebirth) under the cut. Be warned they’re so toxic yuri

i just realized. The cornered pray analogy exactly how the dynamic between Romeo and Hikari is. The lamb preparing for their slaughter specifically is. Exactly them. But the thing is… The roles are swapped in a way.

Romeo, of course, has sheep elements. Those are a huge part of his design- Even in his canon story as well. He’s a lamb being led by a shepherd. He’s naively being led along by Ariels, she calms him when he rebels or lashes out against her, and she led him all the way to his eventual slaughter. He’s the lamb.

But with Hikari, he gets to be the shepherd.

Hikari is a yokai. She’s powerful. I wrote her to be powerful on purpose. She could be fatally wounded and survive, not even batting an eye due to her lack of pain receptors. Which she does. Right when she first meets Romeo. He tries to kill her, and yet she’s unfazed. She doesn’t care. She didn’t feel anything, and she knows she wants to be near him no matter what. All that’s important is pleasing him.

Basically all Hikari knows is Romeo. When she first met him and emotionally latched onto him, she had only recently awoken and still had all her emotions. All her emotions were developed around Romeo’s guidance and treatment of her, which basically just meant being his little assistant, aiding in his war crimes, and associating joy with his slightly harsh treatment.

All Hikari knows is showing her neck and stomach to Romeo.

When comparing the specific animal motifs of both Romeo and Hikari, it’s really fun to see the contrast. Hikari has the designs element of the predator animal, while Romeo has motifs of the prey. However, those roles are swapped in terms of their behavior. Romeo is abrasive and only begins to show care towards his yokai companion after months in his presence, while said companion innocently follows his commands and accepts anything he throws her way- Naively believing every word he says like it’s gospel. A little cat blindly loving the cruel shepherd. It’s a beautiful parallel that honestly was not intentional.

The sheep bares its teeth and bites into the neck of the two-tailed cat.

[juliareed]

There is a lighthouse In the middle of the deep And I'm still stranded on the shoreline there And nobody hears me scream

[subconsciousmysteries]

Men are absolutely losing it because women are seeing through their bullshit and I'm here to watch their collective narcissistic meltdown

[pirunika]

im thinking that So i saved your mail for you while you were away to be an ongoing thing for Blade's romance... its cute and innocent for a long time but later when they are secretly together it becomes a code like Hello welcome...I have your mails..in my quarters come with me I will..give it to you there :)

[padfootastic]

Tell us more about sugar daddy James pls 😏

sadie <3

so—this one comes wholesale from a random post i made a while back about sugar daddy james with a huge age gap b/w him and sirius. i’m talking, businessman james who comes into contact with sirius who’s just run away from home and is on the verge of homelessness. it’s about james being nice and kindhearted, offering sirius a meal which somehow turns into a place to stay which somehow turns into the spending a lot of time bonding with each other.

it’s about a little shit sirius who’s deliberately trying to seduce this saint of a man who refuses to look at him twice (spoiler: it’s not because james doesn’t want, it’s because he thinks it’s unethical. sirius is here to put all those worries to rest). just. a lot of back and forth, pushing and pulling, and getting together moments.

at least, that’s how i’d want it done lol

[anthromimicry]

thinking about how the first time misao makes a friend with a muse on here, she's probably going to be SO fiercely protective of them. because trust me when i say... misao hasn't had an actual friend in a while. thus, she mayyy or may not cling to them a bit and i know that that could lead to a possibly unhealthy attachment between them forming on her side, but. i just imagined them being in a situation where your muse got severely hurt and perhaps by accident by someone who was trying to make up with them, so the ex-friend (or whoever they may be to your muse) naturally tries to reach out to them to help. but misao absolutely REFUSES to let them touch your muse.

and she does this by holding them close to her in such a way that no one would be able to pry them away from her. plus, if your muse was hurt by another human or something then i feel like this would just make her reaction to it even worse, since this would just give her all the reason NOT to trust humanity as a whole in her mind; and also for the desire for her quote unquote 'save' the only purely good one she has known in quite some time getting stronger. plus, the implications behind misao just glaring at them and yelling at them to go away because SHE'S going to take care of them, not them... AHHH like, i can honestly see it from each sides point of view, but misao just wouldn't give a single crap about who they were to your muse because they hurt them and that's all that's important to her

[zushimart]

i like niwakuni in the way that it was unrequited and scara had no idea what he was feeling. sort of like a kid’s crush on their babysitter.

[carmen-berzattos]

#this is a perspective I’ve only seen from people who truly think broadly and sympathetically about life#like he’s literally right I’m sorry and people who aren’t white or cis or straight learn so so SO early that your existence is political#not inherently but because white cishet men have crafted society in a way it’s impossible for it not to be#and ignoring that isn’t going to make you ascend above it god I’m so tired of having to explain that to people#I’m tired of people’s experiences in both places of privilege and place of oppression being used to scapegoat what we all can see#like look at his example!#‘going out for a dance on a Saturday night’ means something different if you’re poor if you’re gay if you’re a racial minority#’walking into a shop’ who owns it how often do you go is it a big box store or a small owned business is it walkable#there’s pOLitiCs in all of that! in ever aspect of your life!#ESPECIALLY if you take your life experiences and turn them into art of any form (via @twentyfour-mp3)