#Rouan

[detournementsmineurs]

"Les Barbares" de et avec Julie Delpy et avec Sandrine Kiberlain, Laurent Lafitte, Jean-Charles Clichet, Ziad Bakri, Dalia Naous, Fares Helou, Rita Hayek, India Hair, Monsieur Fraize, Mathieu Demy, Émilie Gavois-Kahn, Albert Delpy, Brigitte Roüan, septembre 2024.

[ce-sac-contient]

François Rouan - Mapple Cendre verte, 2002

encaustic paint on assembled fabric (185 x 144 cm)

[radiogornjigrad]

INSPEKTOR MEGRE U AKCIJI

„Svako ima pravo na slobodu mišljenja i izražavanja, što obuhvata i pravo da ne bude uznemiravan zbog svog mišljenja, kao i pravo da traži, prima i širi informacije i ideje bilo kojim sredstvima i bez obzira na granice“. (Univerzalna deklaracija o ljudskim pravima) . ŽIVOT MISTER BINA U NEOLIBERALNIM DIKTATURAMA . Igor Mekina u svome tekstu „Život mister Bina u neoliberalnim diktaturama“ na…

[eunoiareview]

In a Holiday Inn Express off 96

Sunk in white sheets, we pass a hymn from throat to throat. Hymn pagan and voluptuary, in praise of only this: Sanctuary of walls, fading daylight, the miracle of two bodies tapping the source, ancient wellspring that murmurs in a language spoken in ritual silence, tactile and mute. Twilight dims the linen’s luster as you shine into me, lips transmuting sensation to color, shades of mineral and…

[celestialmazer]

🎄😘🤌

A great last few months for Aunty Donna content (inc getting to see them live for the first time! 🧡)

- The 3AW Christmas Special 2023 (From episode 381 - "3AW Christmas Special 7")

- "Always Room For Christmas Pud" annual re-issue

- Debut of the seminal work "Always Room For Panettone"

[arystyle]

JulietteStyle 📸😜���😀👍👌💣💥⭐️✨💫🙈🙊 #arystyle #arystyle_music #sallededanse #breakdance #bboying #hiphopdance #bgirl #bboy #dedicace #rouans #nantes https://www.instagram.com/p/Cp_F2l0sFqX/?igshid=NGJjMDIxMWI=

[desultory-novice]

Off topic here but, How did Raquelle turn out to be such a sweet girl with a father like... THAT!? Dang...

Ooh, Raquelle time~

So, her impressively horrible father, once his power-base was established, effectively spoiled his daughter with (entirely feminine) luxuries from a young age–because what HE wanted was to raise a pretty looking trophy daughter to use as a bargaining chip.

(Her father does NOT drink respect women juice. At all. In fact, evidence would suggest that he was quite possibly a raging misogynist in addition to all his other crimes. And while I haven't set it in stone, let's just say that whoever Racquelle's mother was, she was almost assuredly out of the picture from a very young age.)

However, Rouan missed out on a very important aspect of his "pet daughter" project: providing her with, y'know, anything resembling love. So while he could blithely deliver most material things she wanted, he never managed to win her loyalty, only her passive (and frankly, a bit nervously given, because he was a frightening figure even when he was making a passing attempt at playing father) obedience.

Raquelle, meanwhile, yearned for real love and family. It's probable that her initial bond with the Fontaine siblings came from a place of shallow idealization of the storybook familial love (!) they had for each other! She didn't have it and she wanted to be a part of that. A part of a connection. Adeleine was in the perfect place to receive that connection, and her receptiveness emboldened Raquelle's belief in "love"–though Noir was a harder nut to crack, and it took her a while to learn to "read the room" with his attitude.

Her rich upbringing did leave her with a bit of a frivolous streak and her sweetness can be a bit tone deaf (it may be her own way of coping with life) but after losing Noir and Adeleine the first time to her father's machinations, she determined to grow up fast and learned that it was possible to still love people even from afar.

A small tidbit, but she dressed in mostly hyper femme skirts and dresses when they lived together and while she still adores pinks and pastels and girly things, switched over to pants and more utilitarian outfits later! Kind of a sign of emotional maturity on her part + an attempt to shed her naivete. (Speaking of little design quirks, Noir wore his bangs down all through the period they lived together.)

[Bonus] Summer Trio Trauma Responses!

Raquelle | Fawn Noir | Flight interestingly enough...! Adeleine | Fight (!!!!!)

<gif from notobscurevideogames but I'm too embarrassed to tag for an OC post>

[claremikas]

Funniest moments in The Twelve Kingdoms in no particular order:

Shoukei being so stressed by Ranshou's fashion choices that she doesn't notice Shouryuu and Enki because she's too busy ranting to Youko

Youko telling Keiki that she's gonna ban sighing if everyone around her keeps doing it

Seishi lying down dramatically after thinking that Gyousou died in Rouan, asking for death and then being carried to a chair because apparently he refused to get up

Shushou saying that she should've "twisted Shinkun's arm" into giving them a ride

Hanrin calling Shouryuu a "country bumpkin"

Taiki and his entourage getting lost in Ren's Imperial Palace

Koshou being flabbergasted by Youko revealing that she's the Imperial Kei

Shouryuu and Enki sneaking into Rakshun's room at the university through the window

Shushou slapping Kyouki immediately after he proclaimed her empress

Kantai saying that Gyousou "couldn't have been that great of an emperor if he got himself overthrown"

Keiki complaining to Youko that she got his shirei dirty

Ranshou stating that the attendant Youko sent to look after him was "aesthetically deficient"

Shouryuu (or rather Naotaka) trauma dumping on a random 12yo kid he found a few days ago

Youko lying to her ladies-in-waiting because she didn't want to get her ears pierced

[mybeingthere]

Jean-Michel Meurice (French, 1938 – 2022).

A student at the ��cole des Beaux-Arts in Tournai, his youth was marked by a dual passion for painting and cinema. In 1960, while serving in the army in Algeria, he produced one of his first works that brought his two passions together: a three-hundred-metre-long painted film whose motif is composed solely of the repetitive traces of fingers and brushes; projected onto a screen, it is transformed into a moving painting lasting ten minutes. Since then he has pursued a dual career as a painter and film-maker.

In 1963 he made his first trip to the United States, where he discovered painting that was free of codes, the abstraction of Ad Reinhardt and the dripping and all-over processes that had made Pollock famous.

He painted repetitive shapes (stripes or dots) on large formats, using spray cans or sponges. The traditional canvas was often replaced by plastic sheeting or other unusual supports. In 1966 he exhibited at Jean Fournier’s in Paris with Hantaï, Degottex, Buraglio, Parmentier and Rouan, and was one of the co-founders of the Support/Surface movement.

Alongside his work as a painter, he has been involved in a number of audiovisual projects since 1960. He began his work as a film-maker with a series of portraits of artists (Bram Van Velde, Sonia Delaunay, Alberto Burri, etc.), making 13 short films on art. His documentary films, which have already won 7 d’Or awards, were awarded the Grand Prix National de la Création Audiovisuelle in 1992 and the Grand Prix de la SCAM in 2010.

Alongside his work as a painter, he has been involved in a number of audiovisual projects since 1960. He began his work as a film-maker with a series of portraits of artists (Bram Van Velde, Sonia Delaunay, Alberto Burri, etc.), making 13 short films on art. His documentary films, which have already won 7 d’Or awards, were awarded the Grand Prix National de la Création Audiovisuelle in 1992 and the Grand Prix de la SCAM in 2010.

[schizochroal]

Nirou-ki phonology

Nirou-ki as a Rouan language, from the Central Nirouan language family, has a comparatively simpler phonology than many other Niuri languages, and even more so as a factor of its status as a composite, national lingua franca, compared to other languages related to it. It uses the a variant on the same Matonare-ki writing system that most languages in Nirou use, which in the case of Nirou-ki includes 21 characters, which can variably represent consonants, vowels, or syllables, depending on their position in a word and some diacritic markings. While not phonemic, the orthography preserves a variety of phonotactic rules in standard Nirou-ki that would otherwise be obscured by a more alphabetic system, and additionally, as a lingua franca and administrative mostly spoken as a second or third language, the consistency of the writing system is more important than its direct correspondence with the spoken standard.

Nirou-ki phonology, is overall, typical of Central Nirouan languages, and like most languages in that family, has a small number of vowels, a relatively large number of consonants, limited consonant clusters, and restrictions of which consonants can be word initial or final. Like other Niuri languages, it lacks a tone system outside of syllable stress. Central Nirouan languages, as a whole, have harmonization that is typically fixed, and in Rouan languages both vowels and consonants can be harmonized.

Harmonization, called surimyra in Nirou-ki, is a feature unique to Niuri languages, although it is not present in some language families (most notably the Nicrean languages and the Pelani languages, its presence in East Shardian Languages is debatable), and specifically involves the application of a specific sound quality to vowels, consonants, or whole syllables. This sound quality can vary, and in that regard be used lexically or grammatically, as in Kaitian languages, but in Nirou-ki this feature is fixed to each phoneme, and outside of a few phonotactic exceptions each vowel and consonant is always pronounced with the same harmonization. As a feature, harmonization is generally considered to be distinctive to the Niuri Mesai vocal tract, and can only be approximated by humans. While these approximations are critical in learning Kaitian languages, they are less important in Nirou-ki or other related languages, because the harmonization is fixed to specific phonemes, even without using it the language is still almost perfectly intelligible. Phonemes in Nirou-ki can have either one of two "harmony marks" (suri ka) or be unmarked, meaning they lack any harmonization when spoken. The two harmony markings in Nirou-ki are simply called first mark and second mark, and these names correspond to the symbols in the characters which mark the harmonization of the "dominant" sound of that character. In theory, all three of these states are distinct, but in practice the second mark is much more subtle than the the first mark, and even in Niur most second language speakers don't pronounce it. This makes it very approachable for foreign learners, and human learners in general, as in all but one case harmonization is largely unnecessary to distinguish phonemes, and the "human accented" speaker is capable of communicating without any real impairment or approximations needed.

There are six vowels in Nirou-ki, which are romanized as /a u y o i e/, these romanizations each correspond to a single Nirou-ki character, romanized as /am/, /aru/, /myr/, /on/, /shi/ and /are/, respectively. All vowels have either a first or second harmony marking, those with the first marking are /a y o e/ while those with the second marking are /u i/. Uniquely, the vowels /a/, /y/ and /o/ can "share" their tone marking to the consonants m and n, respectively, when they are present in the specific syllabic form (in the forms /am/ or /myr/, /m/ which normally is unmarked is given the first harmony mark, while in the form /on/, /n/ which normally has the second harmony mark is given the first instead). These are the only situations wherein a consonant can have a different harmony mark. As mesai have a different articulatory physiology than humans, all IPA values for Niuri phonemes are approximations, but most of these are approximations in Nirou-ki are at least acoustically similar. Those with a simple approximation are [a] for /a/, [u] for /u/, [ɒ] for /o/, and [e] for /e/. However /y/ and /i/ are more difficult to transcribe to IPA, as without harmony marking their allophonic variation heavily overlaps. The closest valuation for both would be [i], although typically /i/ is realized as sounding, to human ears, as a slightly less closed sound, in between [i] and [ɪ], but still closer to [i]. This difference is often exaggerated by human speakers unable of approximating harmonization, rendering /i/ more uniformly as [ɪ] to distinguish the vowels, and this technique is even taught in some Nirou-ki classes.

In addition to being used as a vowel, /y/ is also used as an approximate [j], and in Nirou-ki these sounds are treated as equivalent rather than a separate consonantal value, and depending on the transformation of a word it can switch from one usage to another. Functionally, this also serves to palatalize consonants it is placed adjacent to, a feature called "vowel coloring" in the context of Central Nirouan languages. In other languages in the family, including some languages ancestral to Nirou-ki, vowel coloring of consonants was also possible with other first mark vowels, especially /o/. In Nirou-ki, only those consonants which have second mark or unmarked harmony can be "colored" by /y/, and rather than losing the harmonization, this is pronounced as shifting from one harmonization to the other in the space of a single phoneme. This is mirrored by diphthongs, which can usually only be formed between first mark and second mark vowels. The regular diphthongs are /au/, /ou/, /ai/, and /oi/. However, there is one irregular diphthong that exists largely as a result of the loss of /o/ vowel coloring in modern Nirou-ki. While most such irregularities resulted in the disappearance of the /o/ vowel entirely, in words ending with a syllable an /o/ colored constant followed by the vowel /y/, the /o/ instead reemerged as a vowel while retaining the same syllable length, creating the unique, irregular diphthong /oy/, without a change in harmonization. This "rule breaking" is one of the most distinctive features of Nirou-ki and its closest linguistic relatives, compared to other languages in its family. Non-diphthong sequences of vowels are allowed between some vowels with the same harmony markings, as well as in cases where a second marked vowel precedes a first marked vowel.

Consonants in Nirou-ki are mostly capable of being approximated in IPA and human speech, although with some complications. The unvoiced stops /t/, /k/, and /p/ are all simply represented as [t], [k], and [p]. The unvoiced fricatives /f/, /th/, /s/ and /sh/ also translate somewhat closely to [ɸ], [θ], [s], and [ʃ]. The unvoiced affricate /ch/ is properly [kʃ], as it is the coarticulation of the two consonants /k/ and /sh/, although this makes it a difficult phoneme for human mouths. The "voiced" consonants however, are quite a bit more complex, as these are not produced from unvoiced consonants in the same way as in most human languages. The least complex of these relationships are those with /z/ and /j/, which were introduced in Nirou-ki thru interactions with other languages. The first, /z/, is a sound that can be somewhat approximated with the sequence [vz], and is sometimes described as being in-between [v] and [z], while /j/ can be seen as the voiced version of /ch/, being approximately [gʒ].

Of the remaining consonants, /d/ and /b/ both have relationships with other consonants obvious in their Nirou-ki orthography, the character /be/ (/b/) being composed of the characters /on/ (/o/) and /ta/ (/t/)conjoined, while /de/ (/d/) appears to be an inverted /lek/ (/l/) with a second harmony mark instead of a first harmony mark. Both of these are the result of decisions made when the Kaitian script was being adapted for Nirouan languages, but are indictive of the fact that these phonemes are related very differently than those in human languages. The closest approximation of /b/ in IPA is likely [ⱱ], the voiced labiodental tap, but sounds more like a coarticulation of that and [t]. Meanwhile, /d/ when spoken tends to sound most similar, acoustically, to a voiceless alveolar implosive [ɗ̥], although softer. Finally, /l/ itself is difficult to represent partially because of the strong influence of its harmonization affecting its sound, the closest analogue being perhaps an unvoiced [ʟ].

The nasal phonemes in Nirou-ki are of course affected by the very different nasal structure of mesai compared to humans, and are distinguished by a quality of sounding , to human ears, both voiced and unvoiced, /m/ sounding between [ɱ̊] and [ɱ] while /n/ sounds between [n̥] and [n]. This quality extends to /nr/ and /r/, the last two consonants with distinct written representations in Nirou-ki and its romanization. The first of these sounds, /nr/, is difficult to transcribe exactly, it can be thought of as the simultaneous realization of [ŋ̊], [ɻ], and [ʀ], while /r/ itself contains both a trill and an approximate, both of which sound indeterminate between alveolar and uvular as a consequence of the harmonization.

Consonant clusters of two consonants are present in native Nirou-ki words, although loanwords can have longer clusters. To be sounded together, these clusters must either be composed of a marked and unmarked consonant, or two unmarked consonants, with one exceptions, /k-r/, which is the result of a sound change resulting in the loss of a vowel. Clusters in loanwords are not as strictly subject to these rules, but many are still changed to fit to them especially if they aren't proper names.

Consonant clusters additionally, in native words, are generally restricted to being either at the beginning of a syllable or the end. The native syllable-initial consonant clusters are /k-r/, /k-s/, /k-z/, /k-th/, /t-l/, /t-s/, /m-r/ and /m-l/ while the syllable-final clusters are /sh-t/, /ch-t/, /k-t/, /l-t/, /th-k/ and /s-k/.

Syllables may be structured as either CVC, CV, VC, V, CCVC, or CVCC but native syllables are generally not CCVCC. When diphthongs are present in syllables they can be in the form CVV, or CCVV, or CVVC. While vowels are not restricted in their syllable position, only some consonants are allowed to end syllables, which other than the aforementioned clusters are /t/, /k/, /n/, /m/, /s/, /z/, /th/, /p/ and /l/, and /r/. Additionally, when in a syllable initial position, /th/ can only precede /y/ or /e/.

In addition to these general rules, there are some phonotactic restrictions on consonants, especially when in a syllable final position. Only /t/, /k/ and /sh/ can end syllables with a diphthong, and they along with /n/ and /th/, and the final consonant clusters, are the only consonants that can follow any vowel. Of the other consonants, /m/ can follow only /a/, /p/ can follow /a/ /e/ and /i/, /s/ can follow /a/ /e/ and /y/, /r/ can follow /a/ /u/ and /y/, /l/ can follow /a/ /y/ /o/ and /e/, while /z/ can only follow /y/.

Nirou-ki words can be many syllables long, but there is a general pattern that most words longer than two syllables tend to have simpler syllable construction. Syllable stress is irregular in spoken speech, but is indicated in the writing system: the last character written in syllable form with a second marked harmonization always take the primary stress of a word; in the case of /aru/ this stress falls on the /a/, if no second marked syllable form character is present, stress falls on the last first marked syllable form character present. If neither is present, stress falls on the first syllable. When two words are combined, as can happen relatively freely, the stress pattern changes accordingly. That said, stress patterns are one of the most variable parts of Nirou-ki between accents, especially among native speakers.

[trucbiduleschouettes]

Lady Darcy, heir of the noblest family of Rouan, daughter of the most accomplished sailor of Basys, and currently nervously realising she did steal one of her dads’ ship AND crew to help save the world-

[Do not use/repost]

[detournementsmineurs]

"Les Chansons d'Amour" de Christophe Honoré (2007) avecLouis Garrel, Ludivine Sagnier, Clotilde Hesme, Chiara Mastroianni, Brigitte Roüan, Jean-marie Winling, Alice Butaud et Grégoire Leprince-Ringuet, décembre 2023.

[beinggayisreallyexpensive]

Chappelle Rouan's continued silence on the Ogo Pogo myth is deafening.

[saalazart]

Rouan Wel - Sky Child

Weapon initially created as a concept for a TES Oc. Wanted the sword to give off that aldmeri dominion vibe so I went with a griffin motif. Also my first project of the summer.

[eunoiareview]

Untitled

“That was a sweet kiss; I meant the deadly one.” It happens in a pocket of dark: deserted lot, barren park beyond, the pale trees like sentinels, menacing in the streetlights, leaves whipping around their feet. Storms roil to the north and west, blind and insensate, toppling semis and factories as our tongues meet. Your taste and breath are a balm and a warning: there’s a siren sounding beneath…

[ochoislas]

BALADA DE LAS DAMAS DE OTRO TIEMPO

¿Dónde —dime—, en qué país está Flora la romana, Alcibiades y Taís, que fuera su prima hermana —Eco que la voz disfrazas sobre ribera o restaño—, cuya beldad no fue humana? ¿pero y las nieves de antaño?

¿Dónde la sabia Eloísa, por quien fue capón y fraile Abelardo en su abadía, pues tuvo su amor tal lance? ¿Y la reina incomparable que lanzó dentro de un saco en el Sena a Buridane? ¿pero y las nieves de antaño?

La reina Blanca cual lis, con la voz de una sirena, patuda Berta, Beatriz, Ermengarda la condesa, y esa Juana de Lorena que los ingleses quemaron… ¿dónde están, ay Virgen buena? ¿pero y las nieves de antaño?

No preguntéis, señor, dónde fueron, ni este mes ni hogaño, ya el villancico responde: ¿pero y las nieves de antaño?

*

BALLADE DES DAMES DU TEMPS JADIS.

Dictes moy ou, n'en quel pays, Est Flora la belle Rommaine; Archipiada, ne Thaïs, Qui fut sa cousine germaine; Écho, parlant quand bruyt on maine Dessus riviere ou sus estan, Qui beaulté ot trop plus qu'umaine? Mais ou sont les neiges d'antan ?

Ou est la très sage Helloÿs, Pour qui chastré fut et puis moyne Pierre Esbaillart a Saint Denis ? Pour son amour ot ceste essoyne. Semblablement, ou est la royne Qui commanda que Buridan Fust gecté en ung sac en Saine ? Mais ou sont les neiges d'antan ?

La royne Blanche comme lis Qui chantoit a voix de seraine, Berte au grant pié, Bietris, Alis, Haremburgis qui tint le Maine, Et Jehanne, la bonne Lorraine, Qu'Englois brulerent a Rouan ; Ou sont ilz, Vierge souveraine ? Mais ou sont les neiges d'antan ?

Prince, n'enquerez de sepmaine Ou elles sont, ne de cest an, Qu'a ce reffrain ne vous remaine : Mais ou sont les neiges d'antan ?

François Villon

di-versión©ochoislas