#Sian Cane

[floorman3]

Brendon Fraser Won't Attend Golden Globes due to the abuse he suffered at the hands of then-President of the HFPA, Philip Berk

Brendon Fraser Won’t Attend Golden Globes due to the abuse he suffered at the hands of then-President of the HFPA, Philip Berk

Brendan Fraser came on the scene in the ’90s with a lot of teen comedies like Encino Man and children’s films like George of the Jungle. Occasionally, he would do a drama like School Ties or The Scout, but it wasn’t until he did The Mummy in the late ’90s did people start to take him seriously as an actor. His role as Rick Connell was his breakout in Hollywood. It was an action comedy series that…

[papesatan]

Di regine, baci, fanti e re

L’universo, si sa, ha un suo modo sarcastico e piuttosto fantasioso d’inviare messaggi ed è in grado di mutare per sempre le sorti d’una serata trita e malinconica in qualcosa di nuovo e misterioso. Così, mentre discuto le doti paranormali del mio amato sodale @same-deep-water, poeta e alchimista, noto qualcosa di strano sulla via del nostro oblioso errare. Un fante di picche ci attende sperso per terra, vicino ai bidoni dell’immondizia. 

Cerco dagli occhi di Angelo un senso, ma lui è già altrove, pochi passi più avanti, chino su un’altra carta, come un detective sulla scena del crimine, il corpo stavolta è quello d’una donna, regina di picche. 

Si mette male, penso, mentre fissiamo muti il fante e la donna, indagatori dell’occulto. Nella cartomanzia, mi par di capire, il fante di picche è una figura piuttosto negativa che non porta nulla di buono, un essere meschino che si comporta in modo subdolo ed egoista al solo scopo di nuocere e mettere a frutto il suo rancore. In definitiva, “una carta di cattivo auspicio che annuncia un periodo di depressione e disillusione”. Proprio ciò di cui avrei bisogno. La donna invece è anche peggio: “la regina di picche rappresenta una donna perfida e invidiosa che cerca di danneggiarti per desiderio di vendetta, una malalingua che potrebbe fingersi tua amica per carpire segreti e fiducia, ma le cui intenzioni sono tutt’altro che sincere”. Di bene in meglio. Mentre mi chiedo a chi di noi due sian diretti gli ammonimenti del destino, Angelo mi richiama sogghignando folle: “Giu, questa serata potrebbe diventare qualcosa di epico!” Lo raggiungo in corsa, non sapendo più cosa attendermi. Più avanti una carta coperta, stavolta, la terza, ci sfida a svelarci. Angelo, da buon tipster, mi propone una scommessa: secondo lui può trattarsi solo di un 9 o di un 10, a questo punto. Io invece ci vedo una scala ascendente, un re, climax di follia (scrivetemi poi nei commenti cosa vi sareste aspettati voi, invece).

Sta a me scoprirla (questo dovrebbe far di me il consultante?), la tiro su piano, me la adagio sul petto, la porto dinanzi agli occhi e osservo: 

Un re di fiori. Una carta finalmente positiva: si tratta, infatti d’una figura anziana, decisa a darci tutto il suo sostegno per proteggerci da livori e pericoli, preservandoci - ciò che più conta - dai cattivi presagi delle carte di picche. Mentre ci allontaniamo pensosi, scorgo qualcos’altro nell’ombra, e so che non è ancora finita. Una cartolina strappata, un messaggio scritto a penna: "Baciami Neva". Sul retro il Ponte degli Alpini di Bassano del Grappa. Chi ha strappato la cartolina? Perché l’ha fatto? E soprattutto chi è Neva? Un cane? Una bimba, forse? La cartolina sembra molto vecchia e vissuta, perché prendersi la briga di spezzarla in due dopo tanti anni? Cosa può aver fatto questa persona di tanto orribile? Quel bacio era forse il suo modo di svanire? O magari dovrei leggervi una virgola: "Baciami, Neva", un invito, un’ultima preghiera, forse, un sogno, o chissà che quella sia la sua firma, un’ultima speranza, "Baciami". Nascondo la cartolina in tasca e raggiungo il caro Angelo, pronto a custodire per sempre in me gli assurdi tesori di questa notte.

[abr]

Pensierino debole at its best.

In effetti a chi non è capitato di esser fatto salire in un aereo mentre voleva solo andare a far jogging, a pisciare il cane, al posto suo di lavoro o a scuola?

Al che potrebbe anche azzardarsi di chiedere al pilota, scusa ma che ci faccio io qui, CHE CAZZO VOLETE DA ME ? In effetti son domande che non si fanno mentre ti portano a Guantanamo.

Si comprende bene come certa gente avrebbe davvero necessità di INIEZIONI FORZATE DI SCIENZA VERA, per abbassargli il livello di ansia da bisogno di Fede OBEY. Peccato sian cure a livello da sempre sperimentale, con un sacco di effetti collaterali. Siamo seri e lo ammettiamo, noi.

[thewatsonbeekeepers]

Chapter 5 – Hey, Soul Sister: Who is Eurus?

Do you get it? She’s his sister? But metaphorically, she’s a part of his soul? I was very impressed with myself for this title. Anyway…

This chapter of the meta is going to deal with the various times we meet Eurus before TFP and what this might mean, which will help us to understand who she is once we have stripped off the disguises.

Before series 4, we had real!characters and MP!characters set up as distinct entities, particularly in TSoT, which distinguishes between MP!Mycroft (the deducing brain) and real!Mycroft, as well as MP!Irene representing desire and real!Irene, who doesn’t come near the episode. The MP section in TSoT, for a lot of people in the fandom, broke down Sherlock’s psyche into MP!John vs. MP!Mycroft – and John is clearly winning.

However, I want to suggest that Sherlock’s psyche isn’t nearly so straightforward as a tug of war between the brain and the heart. Whilst MP!Mycroft undoubtedly represents the oppressively reasonable part of Sherlock’s psyche, that’s not the only thing repressing him – it can’t be. If it were simply a rejection of ‘sentiment’, this wouldn’t be the powerful queer love story we know it to be – there is a lot more internalised homophobia being dealt with than just love being illogical. That’s where Eurus comes in.

Eurus and Mycroft are parallel oppressive forces in Sherlock’s brain, but they’re oppressive in different ways. Having family members and childhood trauma be the psyche’s symbols for repression is particularly poignant in a queer love story, for obvious reasons. However, I want to take you through my reasoning behind Eurus being the most secret and troubled part of Sherlock’s soul.

The first clue is that her prison is called Sherrinford. We all assumed that the third Holmes sibling was going to be Sherrinford back before s4, and it seemed that way in the beginning, with Mycroft mentioning speaking to Sherrinford several times, construing it as a person rather than a place. This is no coincidence – for those who aren’t familiar with the history of the stories, Conan Doyle’s original name for his protagonist was Sherrinford Holmes, which he later changed to Sherlock. That Eurus is trapped inside Sherrinford is a clear suggestion that Eurus is something that’s trapped inside Sherlock – a dangerous MP entity. More important than that, Sherrinford is the version of Holmes that never made it into the books. Plenty of people have worked on queering the Holmes canon and working out what ACD might have been implying and leaving out and arguably none more so in an adaptation that Mofftiss. Let’s think about the implications of this. A kind of second self, not shown to the public, buried inside your mind and forgotten since childhood, which is bursting out into a moment of acute psychological distress. Gee, I don’t know what that could be about. The Sherlock that Sherlock thinks he is has thus far been dominated by MP!Mycroft, but this series is about uniting canon!Holmes with the non-canon, queer Sherrinford who has always existed, judging by the name, and who is currently dominated by the destructive MP!Eurus. The other important point to note here is that Sherrinford is an island in the middle of the sea – that’s not a coincidence, given how much water imagery abounds in this series. I spoke briefly in Chapter 2 X about how water represents Sherlock sinking deeper and deeper into his own subconsciousness – this is the deepest he can go. In Greek mythology, Eurus was the name of the wind most associated with causing storms at sea X – this isn’t a coincidence either. She’s very deliberately tied in with water.

(In real life terms, of course, all this means that a real!Eurus probably does or did exist in some form, although I can’t begin to hazard a guess about this. However, I’m trying to refer to her as MP!Eurus when she’s in her normal form in the MP, in case we get a series 5 with Sian Brooke as real!Eurus, and also to distinguish her from therapist!Eurus etc.)

This is my reasoning as to why MP!Eurus represents Sherlock’s innermost trauma. She is not merely the fact that he loves John – he deduced this in TSoT without her appearance. She is the trauma that he needs to come to terms with. A running theme through our analysis of Eurus will be that her gender is particularly important; her representation of Sherlock’s repression cannot be but as a woman, because for most of s4 he is only able to process his identity through the most heterosexual of lenses. We see this hinted at quite early on in TST, when Sherlock takes on a case called ‘The Duplicate Man’, warning John that it is never twins. The word ‘duplicate’ here, removing twins, leaves us with the only real possibility that it is in fact the same person. Eurus’s gender makes that more difficult to see; she needs to be female, but it’s much more difficult to elide the two characters without employing a Cumberbatch doppelganger. However, this hint that Eurus is not only male but an actual ‘duplicate’ of her brother should give us pause for thought. With this in mind, I want to use the rest of this chapter to analyse her three forms before TFP.

1.)    Faith!Eurus

I’m certainly not the first to point out that Faith!Eurus is a mirror for John, nor will I be the last – people jumped on it pretty much as soon as TLD aired. There are a few good reasons for this. Firstly, she walks with a cane, a throwback to ASiP – in case we’d forgotten, however, Sherlock has a flashback to John walking with a cane to make the link explicit. We are supposed to link these two characters, the authors are saying pretty clearly. Faith!Eurus is also suicidal, which John was at the start of ASiP, as made clear by the fact he carried a gun – and Faith!Eurus does the same. Sherlock also takes her out for food (for more on the food/sex metaphor, see here X) which he doesn’t with anyone bar John, and we certainly never see him talk so easily with someone who isn’t John. An eagle-eyed tumblr post that I can’t find now also broke my heart in pointing out that Faith!Eurus’s unseen self-harm matches long-sleeved John Watson a little too well.

This isn’t just the show trying to remind us of what John was like in ASiP, however. MP!Eurus is the trauma prodding Sherlock’s sexuality – it’s going to be hell to get through it, but he absolutely needs to do it. This is Sherlock’s trauma, not reminding him that John was suicidal, but forcing him to acknowledge it in the first place, something which Sherlock has buried. We know this because of the way the image of John forces its way into Sherlock’s mind – it’s much like the way Moriarty breaks into TAB. His brain is making a connection that he’s not quite capable of making and it’s knocking him. His deduction that Faith!Eurus is suicidal is accompanied by that image of John, and he then re-enacts the food ritual he completed with John the evening John left his cane behind, before throwing Faith!Eurus’s gun into the Thames – proving that it was Sherlock himself who stopped John from taking his own life.

This is trauma, however, and Sherlock can’t process it in full – hence why the image of John that breaks in is shaky, and Sherlock tries to push it out of his head. It’s also why Faith!Eurus, who in Sherlock’s subconscious could take any form, specifically takes the form of a woman. His gay trauma means that he first has to process John’s suicidal ideation in a heterosexual dynamic, before fully grasping and applying it to his relationship with John. (Chapter 9 X explains how that plays out over the rest of TLD in full detail.)

2.)   E!Eurus

Taking a jump back to surface level plot here, the first thing that grabbed me about E!Eurus was just how minor John’s flirtation with her was. In the terms of a television show which really rides on very high drama (multiple faked deaths and insane cliffhangers for a start), the emotional peak of John’s emotional arc with Mary being that he texted another woman – not went out for lunch, not kissed, not slept with – is bizarre, particularly when we know next to nothing about E!Eurus at this point. It’s incredibly anti-climactic as a means of John falling short of Mary’s view of him. Maybe we can accept it as in line with John Moral-Principles Watson, but it’s difficult to accept as in keeping with the nature of a show whose intent is nearly always to shock.

With this in mind, let’s delve back into the MP to see how that might give this moment greater emotional significance. Chapter 10 X is on the hug scene, and that will deal with John’s revelation of his infidelity in greater detail. For the moment, the most important thing to remember is that John Watson is not real!John – he is heart!John. In other words, we are seeing a similarly heterosexualised re-enactment of Sherlock’s relationship with John.

I will talk a lot in Chapter 10 X about how MP!Mary is linked to Sherlock’s compulsory heterosexuality; at the end of TST, Sherlock substitutes Mary’s body for his because he cannot conceive of John’s queer grief without breaking himself. This is interesting because the E of Eurus actually stands for Elizabeth in this scene (certainly in the credits, and possibly elsewhere, although I can’t remember Sian Brooke actually saying it). Elizabeth is Elizabeth is Mary’s middle name in BBC Sherlock, which looks like another of those shared name links our creators love so well. If so, this begins to justify how Sherlock’s heart is conceiving of its emotions. We will see in TLD that heart!John’s relationship with fem!John in the form of Eurus is aligned with Sherlock’s sexual desire in the form of MP!Irene. Both are hidden and exist only in texts – i.e., they cannot be spoken yet. But they will be.

 3.)    Therapist!Eurus

This one is perhaps the most straightforward on a symbolism level, but also possibly the most significant moment in the series. Therapist!Eurus, plain and simple, is Sherlock’s trauma prodding at John, interrogating him like a therapist would, trying to work him out – and largely failing, right? She can get basically nothing about how he feels about Sherlock out of him. But this is part of MP!Eurus’s ongoing project to get Sherlock to wake up – the Gay Trauma is interrogating John, trying to suss him, and failing.

Except, in the final scene of TLD, without the help of Therapist!Eurus, Sherlock has finally sussed John – it has taken until Culverton’s confession to recognise that John is suicidal without Sherlock (Chapter 9 X). The sigh of relief that is the hug scene (Chapter 10 X) is a kind of acknowledgement of that relief that he’s finally worked out what he’s been trying to cover up with drugs – so much so, that he misses the obvious, which is that John is suicidal again. When John leaves his cane with Sherlock in the hospital, it is a reminder of the first time he is suicidal, and Sherlock doesn’t make the immediate leap in his comatose haze that this is what his psyche has been trying to tell him. Hence you have this moment of immense relief and fade out at the end of the hug scene which suggests the end of the episode, and could feasibly end Sherlock’s life, except we’re started awake with a much more abrupt and troubling ending scene – Therapist!Eurus shooting John. Because, of course, if Sherlock is gone again, John must be suicidal again, and it has taken a few scenes of cognitive dissonance for this to clock. Indeed, it’s not Sherlock himself who clocks – Gay Trauma in the form of Eurus!Therapist returns and shoots John for us. This shooting isn’t, of course, permanent (in one of the worst cliffhanger resolutions in TV history), but that’s because it’s not real – it hasn’t happened yet. It is Sherlock, through MP!Eurus, finally recognising the problem – John.

This is particularly poignant in light of the opening and closing shots of TLD. Although there’s the fucky not-blood red that fills the screen at the end of TLD, apart from that the shots of Norbury shooting Mary and Therapist!Eurus shooting John are one and the same shot. It’s also a stylish shot (what I call split screen, but given that I never went to film school I think that’s just my name for it) and it’s repeated enough times over TLD that it’s pretty clear the creatives want it to be memorable. By the time John gets shot, then, we shouldn’t be caught up in the drama of it – we should be thinking, as so many did, “something’s fucky.”

And it is – but it’s brilliantly fucky! Head over to Chapter 7 X if you want to read about Norbury shooting Mary, but TLDR it’s a metaphor for Mary shooting Sherlock as understood from Sherlock’s warped and depressed perspective – and he’s finally realised what it means! The version in which Mary shooting Sherlock means John losing Mary (the Norbury version) is one in which John is sad, goes to therapy, and the world moves on. Now, however, that Sherlock has recognised that John was suicidal, he can also recognise that Mary shooting Sherlock will make John suicidal again – hence why it’s the same shot. Mary shooting Sherlock is the same as John dying – and the latter is much more important in Sherlock’s mind.

[It’s worth noting that the identical shots we see in TST and TLD don’t match the shot in HLV, although admittedly that one’s not in the MP – it does strike me, however, that the sounds are reversed – HLV sounds like a dart, whereas the MP shots sound like bullets. If anyone has any thoughts on that, do let me know – it has me flummoxed for the moment. If you want meta explaining why the shot from TST is the same as HLV, Chapter 7 is here X, and I’m certainly not the first to hypothesise this. For me, the TLD shot being the same is therefore a logical extension.]

[nurknabo]

LINGVA LATINA PER SE ILLVSTRATA - CAPITVLVM DECIMVM

Ĉi tiu estas speciala afiŝo ĉar mi finfine atingis la ĉapitron 10!!

Mi tre feliĉas esti sukcesinta alveni ĉi tien, post tiel da laboro kaj studoj. Mi scias ke povas soni strange diri ĝin ĉar mi eĉ ne duonvoje tra la libro, sed ĝi ne signifas ke la progreso estas malgranda. Nun, al la 20!! Sed eble mi ankaŭ festos je la 5aj.

Nu, ni parolu pri la ĉapitro, kiun mi tre ŝatis. Bestiae et homines.

Resumo: Unue parolas pri bestoj kaj homoj, parolante ke aliaj havas piedojn, aliaj flugilojn kaj aliaj vostojn, ke ne ĉiuj povas flugi, ktp. Parolas pri dioj (jes, romaj dioj), kaj do venas la rakonto mem. Julia, Marko kaj Kinto estas en la ĝardeno. Julia ludas sole kun sia pilko kaj hundino, dum la du knaboj serĉas neston. Ili trovas. Kinto grimpas sur la arbon por vidi la neston pli bone. Tamen la branĉo sur kiu li staris estis tre maldika kaj finas rompiĝi. Kinto falas de la arbo kaj svenas. Marko, malespera, vokas sian patron, kiu venas, prenas Kinton senkonscian kaj alportas lin al lito. Finon.

La unua afero kion mi volas priparoli estas la zorgo de Marko. Ni vidis antaŭe ke li ne estas tre bona persono, kaj eĉ batis Julian. Kion oni povus atendi de li estus ke li, almenaŭ komence, ridus pri la falo de Kinto. Sed ĝin ne faris li. Li eĉ ploras dum li vokas sian patron, pensante ke Kinto mortis. Ĝi montras al ni ke li ŝatas sian fraton, kaj mi ankaŭ dirus ke li ankaŭ ŝatas Julian, malgraŭ ĉio.

Nun, ni parolu pri kio okazis ĉapitre.

La ŝanĝado de vortoj

Vidu ĝin:

Respektive singulara kaj plurala:

Leo - leones

Homo - homines

Pes - pedes

Kaj la listo ne finiĝas ĉi tie. Mi ne komprenas la ŝanĝon. Mi memoras la italan kiam mi vidas ĝin. Ekzemple, itale ni havas la verbon broccare (broki). Kiam ni konjugacias la verbon, ĝi estas:

Brocco

Brocchi

Brocca

...

Ĉiuj havas nur CC + finaĵo, sed do aperas CCH. Kial? C en la itala havas la sonon de K, sed, se ĝi estas sekvata de vokalo, havas sonon de Ĝ, kio ne kongruus kun la konjugacio. Sed CCH havas la sonon de K, pro tio estas uzata ĝi en la konjugacio, solvante la problemon.

La kial de la granda klarigo estis por diri ke eble ĝi estas la sama kialo kial vortoj en la latina ŝanĝiĝas, por konservi ĝian originalan prononcon/formon.

Tamen... mi honeste ne vidis kio estas konservita tie... La vorto «homo» laŭvorte povus esti deklinaciita kiel «homis, homibus» kaj ankoraŭ konservus «hom-». Nu, mi probable parolas sensencaĵon. Se ĝi ŝanĝiĝas, do estas kialo por tio. Mi ne vidas ĝin, sed ĝi estas tie.

Malgraŭ tio, ĝi ne estis problemo. Ĉio kion mi bezonis fari estis memori la malmultajn leterojn kiuj devas esti uzataj. Ĝi estis montrita lastaĉapitre, do mi ne havis malfacilon.

Passivum, sed cum infinitivo

La sakoj estas portataj sur la dorsoj de la servistoj = Sacci in umeris servorum portantur

La sakoj ne povas esti portataj sur la dorsoj de la servistoj = ?

La dua frazo ĝis tiam ne povus esti kompletigita de mi ĉar mi ne sciis. Sed ĉi ĉapitro instruis ĝuste ĉi tion, la pasiva formo:

«Sacci in umeris servorum portari non possunt.»

Kiel estas bone vidi la progreson, vidi ke pli kaj pli la eblo de skribi pli kompleksajn frazojn kreskas.

Nu, ne estas malfacile lerni ĝin. Sed io konfuzigis min. Mi rapide pensis ĉu ekzistus plurala formo de ĝi, same kiel okazas al la aktiva formo. Sed ne, ne ekzistas plurala formo, ial. Evidente ĝi estas bonega. Ju malpli da novaj vortoj, des pli bone. Mi jam vidis kompletan tabelon de verboj. Mi eĉ ne povas klarigi kiom da vortoj estis tie... Ili havas ŝablonon, kiel la tuta latina, sed la kvanto ne helpas... Nu, ĝi estas problemo por postaj ĉapitroj.

Dei (dioj)

Estas enkonduko al la dioj grekaj. Ĉu aŭ estus romaj? Nu, mi nomos ilin romaj dioj, ĉar mi jam vidis ke la nomoj de la romaj dioj samas kun la nomo de la planedoj. Ne Pozidono, sed Neptuno.

Nur ili ambaŭ aperas. Mi ne scias ĉu estos parolita pri la aliaj aŭ ne. Ne multe estas parolita pri ili ĉi tie. Pri Merkuro, ĝi diris ke li povas flugi pro siaj ŝuoj kaj kasko, kaj ke li estas sendisto de la dioj. Pri Neptuno, li povas spiri sub akvo.

Sed kio vere estis montrita ĉi ĉapitre estis la infinitivo en pasiva formo kaj infinitivo mem.

«Neptunus natare potest»

«Homines deos neque videre neque audire possunt»

«Dei ab hominibus neque videri neque audiri possunt»

La unua neregula verbo, krom «esti»

Same kiel la portugala, la hispana, kaj la itala (kaj certe aliaj latinaj lingvoj), la verbo «voli» estas neregula. Mi konsideras ĝin kiel la unua, ne la verbo «esse» ĉar ĉi verbo estas tre-tre baza.

Li volas = vult

Ili volas = volunt

Ne multe aferoj por paroli ĉi tie.

La granda kvanto de sinonimoj

Anstataŭ quia, nam kaj quod. Anstataŭ quoque, etiam. Anstataŭ cantare, canere. Anstataŭ et, -que. Kaj tiel plu. Sed ili estas nur sinonimoj, do ne ekzistas reala problemo, ĉu? Hmmm, ne. Mi priparolas la latinan ĉi tie. Mi certas ke, eble ne ĉiuj, sed multaj el ĉi sinonimoj ne signifas precize la samon. Bona ekzemplo estas quoque kaj etiam. Mi rapide guglis pri ili (ĉar ne ĉiam eblas kompreni ĉion libre) kaj mi vidis ke etiam signifas «eĉ». Et kaj -que, mi pensas ke ili estas du vortoj kun la sama signifo sed estas uzataj en malsamaj situacioj. Kiuj situacioj? Mi tute ne scias. La libro ne klarigas kaj mi ne sukcesis kompreni ĝin. La solvo estas gugli ankaŭ, sed mi ne faros ĝin nuntempe.

Sole la libro ne sufiĉas; lernante preter la libro

Profitante ke mi menciis ke mi guglis, mi diros ĉi tion. Malfeliĉe mi ne povos lerni ĉion nur legante la libron, ĉar foje ĝi montras novan vorton kaj aŭ mi ne komprenas la signifon de vorto, aŭ mi ne komprenas la uzon de vorto, ktp. Ĉar la libro ne ĉiam klarigas ĝin, kaj eĉ kiam klarigas, foje mi ne komprenas, mia sola solvo estas serĉi la respondon aliloke.

Mi uzas retejon kiu estas kvazaŭ vortaro kaj "verbaro". Ĝi montras ĉiujn deklinaciojn de vorto kaj ĉiuj konjugaciojn de verbo. Jen ĝi:

Mi aldonis ĝin al la hejma ekrano de mia poŝtelefono kaj ĝi fariĝis app. Ĝi multe utilas. Mi ne scias de kie ĝi prenis ke "la latina estas simpla" hahaha

Kaj "lernante preter la libro" estas ĉar mi komencos lerni vortojn kaj verbojn rete, ĉar, jes, la libro multe helpas kaj instruas, sed la procezo estas iomete malrapida. Ekzemple estas vortoj kiujn mi volas scii, kiel la baza verbo "scii", kaj en unua kaj dua persono singulara, kaj poste plurala. Mi ne kredas ke ĝi estas iri tro malproksime. Verboj latine havas ŝablonon en ĝia konjugacio.

Ne plu nur ablativo?

Ĉiam post «in» venas vorto en ablativa kazo, sed okazis io malsama:

«Quintus in arborem ascendit»

Akuzativa kazo. Kion mi pensas estas: ĝi memorigis min Esperanto. Esperante, kiam vi skribas ion rilatan al movo ien, vi uzas akuzativon. Eble latine vi devas uzi akuzativon ankaŭ kiam iu aŭ io moviĝas sur io. Kinto moviĝas sur arbo, do «arbo» devas esti en akuzativo.

La rakonto finiĝas kun Kinto sur lito. Kaj, donante intrigmalkaŝon de la sekva ĉapitro (ĉar mi ne rezistas kaj ĉiam vidas rapide kio estas sekve), en ĝi aperas kuracisto, kiu ekzamenas Kinton kaj faras procedon por provi plibonigi lin. Nu, mi pensas ke mi scias ke en kuraca ekzameno, eĉ la plej simpla, uzas vortojn kaj gramatikajn strukturojn pli kompleksajn, do nur per ĉi tio ni jam scias kio nin atendas.

Tiam finiĝas la ĉapitro! Mi ŝatis ĝin kaj ŝatis eĉ I ke mi transpasis la ĉapitron 10. Mi ne scias ĉu estas iu legante miajn afiŝojn pri Lingua Latina, aŭ ĉu estas iu legonta ĝin, sed, nu, se estas iu legante ĉi tiun, dankon al vi kiu akompanis min ĉi tien. Sed ne ĉesi nun! Mi ankoraŭ afiŝos pli.

Nun la frazo en la latina: in terra, aqua et caelo sunt bestiae. Non solum sunt bestiae in terra, sed quoque homines. In aqua Neptunus adest, sed non est humanus, sed deus, qui a hominibus et bestis neque audiri neque videri potest. Multae bestiae amicae hominum sunt. Canes et aves amici eorum sunt. Leones autem amici hominum non sunt, quia ferae sunt, et homines bestiasque edunt.

Bonege! Mi eĉ povas senti ke mi povas esprimi pli bone. Nu, jen la fino de la ĉapitro 10, kaj mi jam scias multe. Nun ni atendu kaj progresu ĝis la ĉapitro 20. Mi scivolas pri kia mi estos, kiom da aferoj mi scios tiutempe. Ĝis la revido!

[galarssteel]

Tacere Libertas: End.

( cw: homophobia, someone gets decked )

Samar was paged for a visitor.

As per his request, the visitor was brought into his office. Who else but his own father. Of course. Samar hardly looked up from his work, “Lennon.”

“Adonise.” 

No response.

“Adonise.”

No response.

“Ado- oh for chrissakes- Samar.” 

The Chairman looked up from the papers on his desk, “Yes?” He could see the fury boil behind his father’s eyes, yet kept himself calm. He had no power anymore. Especially not here. Not after the scene he made at the tournament. “May I help you?”

“Yes, you can help me you pathetic little fag- you think I don’t know about your new little boyfriend? It’s all over the news. Disgraceful, for a Chairman.” Lennon spat, “Now, you take off that ridiculous ban on me from League matches!” 

A raised eyebrow from Samar, “Oh? Ridiculous? And why is that?”

Lennon sputtered, gritting his teeth, “It’s a divorce, Samar! Nothing I did constitutes this! And if this is about how I raised you- look at yourself! You turned out fine.” 

The Chairman lightly chuckled, standing and coming around his desk, leaning on it and sticking his hands in pockets. There was no fear, not anymore, “Mhm. Sure. After I learned that none of what you did was correct and that I didn’t deserve it. Sian helped with that a lot. But you never paid her any mind. Guessing that was why.” 

“Oh that girl-” Lennon snarled, “Now you listen here-!”

“No, Lennon. It’s time you listened. Here’s what’s going to happen: you are going to turn around and walk out the door, or- I am going to call the police. Simple. I don’t want to see your face anymore.” 

“You little brat-! You call the cops on me and I’ll ruin your life!” Lennon swung his cane at Samar, only to be promptly struck in the face. A strong punch. Samar. As he struggled to regain his balance, two League staffers grabbed him. 

Samar cracked his knuckles, “Mh. Haven’t thrown a punch like that in a while. Well. Take him away, gentleman. Before it happens again, and before I change my mind on not calling the police.” 

Lennon was gone. 

Freedom. 

[yhs-silly]

Hang on there buddy #5

Trigger warnings: suicide mentions, self harm, ghost, character death, murder mention

After a few weeks, Grian was cleared to leave. He moved in with Taurtis and Sam, who had already set up his belongings on shelves. He was so glad to be out of the hospital, happily sitting with Taurtis and Sam- he watched them play smash bros quietly. He loved to watch them just interact like this, casually and friendly without worry. He felt so relaxed, leaning against Taurtis with a yawn- he blushed when Taurtis instinctively put his arm around the blonde.

Later that night Grian was sat on the sofa, both of the boys were asleep. He looked around and realised just how small the apartment was, he wanted to give back to his friends for being so sweet and caring and his therapist did say he needed to improve his relationship with his parents...

Grian picked up the phone, he knew this number off by heart. He typed in each key and pressed the call button, he sat waiting for a response- his breath hitched when he heard the response.

"Hello? Who is this?"

He took a deep breath, it was now or never. "Is this Prudence Sian Xelqua?"

"it's LADY Prudence Sian RUSTIA dear, but yes. Who's this?"

He counted to three under his breath before answering, tapping his fingers on the side if the sofa. "Grian, it's Grian Xelqua..." He had to hold his phone at a distance due to the squeal that followed, he sighed and listened to his mother ramble on about how much she and his father had missed him. "Mother? I have a favour to ask..."

She went quiet. "I should have known...what do you need sweetie..?

Grian quickly realised how that sounded and back tracked. "Oh no, I do want to fix my relationship with you and father but I do really need a favour..." He smiled at hearing her assuring him that it was fine, she understood. "I need a house, I'm currently living on my friends sofa in a destroyed apartment- there are walls missing. Entire WALLS, mother."

She gasped and the clacking sound of credit cards was clearly heard. "Oh gosh! Hold on baby, mama's sending you a nice silver credit card and buying you a nice house, where do you live honey?"

"Academi, in japa-"

"Oh!" Lady Prudence squeaked, typing in the address in order to buy a little home for her son and his friends. "That's the little town Jane used to live! Is her ex still there? Does he still teach?" She gasped again as a little thought popped into her mind. "Is he your teacher?"

Silence from the other end of the phone as the sound of Grian sighing came from the other side of the phone. "No mother, Gareth's dead...he...he committed suicide..."

Prudence gasped, she felt faint. The sweet and gentle man she'd introduced her dear sister to all those years ago had hung himself from the rafters like a rat. She scoffed and fluffed up her hair. "Well he always was a coward, how outrageous! Suicide is a horrible thing to expose children to- how horrible of him! Suicide is a cowards way out and holds no honour whatsoever, such a horrible, shameful way to go!"

Silence from the other end of the phone and Prudence was about to ask if Grian was still there when a quiet, shaking voice was heard. "Mama..?"

"Yes baby?"

"...I tried to kill myself..."

The call ended, leaving Prudence sat in complete silence. Her baby, her perfect little boy, had tried to commit suicide. She felt sick, clasping a hand over her mouth to stop the bile that rose from escaping. She remember when Grian was little, he used to be the sweetest, move inquisitive kid around- hanging off her every word.

But she also remembered what the maids used to say, when she wasn't around Grian, he was quiet, subdued and sulky. But even inspite of that, Prudence had to worry what had happened in the ten years where he was on his own- on the street. Oh god she felt sick.

Meanwhile Grian was quietly cursing himself out for being so impulsive, he should have just listened to his mothers cruel comments about Gareth. Now he'd disgraced her, she was sure to call his father and then he'd know what a pathetic excuse for a son Grian really was.

He was right, Prudence did call her ex-husband but the man wasn't disspointed, he was sickened. He thought that Grian would've died on the streets so he was rather impressed but at the same time, suicide was a huge issue in all walks of life- his cousin was a physiologist and so he knew how important it was that Grian had failed. He was genuinely proud of him for reaching out of them, even if he was slightly put out that Grian had chosen to call Prudence and not him. He hated his ex-wife with a passion but they could agree enough to plan a trip to Japan to visit their son.

Neither of them had time for customs so they took a private jet, landing in the car park outside academi. It was a fairly nice plane as far as private jet's go so no wonder it drew a crowd. Prudence and Alfred stepped out of the plane to see a crowd of rowdy teens staring at them, they stepped out and looked over the group for their son.

Sam was so glad to see Grian smiling and laughing like that, back to almost-normal. He had grabbed his hand in order to drag him over to the shop and he was only just realizing that he still had Grian's hand in his grasp, a light blush dusting his cheeks as they turned the corner. Sam realised just how cute Grian looked, he really was blessed to own such cute friends- wait no, he doesn't own them, his therapist told him that was bad. Wow he really was messed up, Sam felt the empty pang of guilt hit him lightly as they approached the school.

Grian suddenly let go of his hand and Sam looked over in disappointment when he saw that the brit's face had paled, he looked to see what Grian had seen and saw the jet- with two fancy dressed people getting out. Sam couldn't help but notice how similar they both looked to Grian, they must be his parents. Sam didn't know Grian was rich, the kid had been homeless after all- and had no money what so ever.

It seemed that Taurtis also noticed as he tapped Grian on the shoulder. "Hey Grian? Are those your folks? They kinda look like you." He smiled, liking being right as Grian shamefully nodded. He watched as Grian's parents pushed through the crowd, lead by a PA, a butler and two bodyguards.

Grian felt his heart sink as his parents reached him, Prudence leaning down for a delicate huh. "It's ok baby, mummy's here now." She let go and smiled down at him, stepping back to stand beside Grian's father. Lord Xelqua nodded and gazed down at Grian with his usual dissapointed gaze, but his eyes sparkled with worry. Grian suddenly felt seven again, staring up at his parents and feeling like he's in trouble for something.

It was Yuki who came to his rescue, she jumped in as the girls diffused the crowds and curtsied to them. "It's a pleasure to meet you Sir, M'am, you must be Grian's parents. I'm Yuki Karu, my daddy runs the yakuza here- I'm Grian's friend." She chimes and smiles sweetly at them, causing Prudence to smile and nod approvingly.

"Oh it's lovely to see Grian's made some friends, he was never a very social child." She smiled sweetly and fluffed up her hair. "I'm Lady Prudence Sian Rustia and this," She gestured to Lord Xelqua. "Is my ex-hus-"

"I am Lord Alfred Xavier Robert Xelqua, patriarch of the Xelqua lineage and ceo of XelquaSweets." He cracked a neutral expression and flourished a bow before the little group, letting his personal assistant hold his cane as he did so. He came back up with a deep frown as he heard laughing.

Sam found this hilarious, Grian's parents were these over the top upper class hoity toities, the little aggressive kid Sam had met all those years ago was one raised by a nanny. He leant on Grian's shoulder as he cackled at this situation, he could feel the blonde tensining up but really didn't expect to be thrown to the floor like that as Grian took a few steps towards his parents.

"What the hell is wrong with you?" The pair looked at him in shock and confusion, Grian glared. "Why do you think it's ok for you to barge into my life again like this? I called you because my therapist said I should fix my damn relationship with you assholes." He laughed almost hysterically and a cold cruelness rang through his voice, causing at least Prudence- and the remaining teens, to take a step back. "I told you what I did only because I couldn't stand you throwing scorn on Gareth for the same thing! And you know what father? You might as well call up your little physiologist friend because I'm the cause of his death! I'm hysterical! I'm fucking crazy!" He gestures around wildly, tears forming in his eyes as he took some more steps towards his now very uncomfortable looking parents. Sam slowly got off the floor and took a careful step towards Grian as the blonde glared forward. "And I don't have time to play happy fucking families with you neglectfull pieces of shit!"

Before Grian could say anything more, Sam put his hand over the blondes mouth, holding him close and quietly hushing him. He know what it was like to lose his temper like that and he didn't want Grian to hurt himself so he held Grian back and calmly pet the blondes hair. Grian sighed and stopped struggling, relaxing his shoulders but tensing then again as his father walked slowly towards him with a scowl.

"Grian." His voice was cold and harsh, Sam felt Grian begin to shake. "We've done nothing but give you the best, the only reason you're like this is because you ran away, which was your own decision." Sam made sure his arms were tight around Grian as he held the smaller make protectively. Xelqua glared at Grian and raised a hand to strike him. "Your mother and I didn't raise you to be such an ungrateful brat!"

Before his hand could even make contact with Grian's face, the light that reflected of his ring triggered something in Sam. He let go of Grian, pushing him towards Taurtis then grabbed Lord Xelqua's wrist. "Don't you fucking dare." He threw the lord to the ground and jumped on him, pummeling him with punch after punch. Lady Rustia screamed, her long acrylic nails tapping on her purse in worry as she stepped back.

She backed into someone, someone with an angry glare and muscles to make her swoon. She turned and widened her eyes as the teens gasped quietly, standing there and glaring down at Sam- Was Rowan.

[gdsradio7]

Oscar 2022: ‘Coda’ miglior film, Campion migliore regia Oscar 2022 nel segno delle donne, a vincere il miglior film è Coda, di Sian Heder, mentre per la regia primeggia, come da pronostici, Jane Campion con il western ‘Il potere del cane’ (12 candidature), che diventa così la terza donna a ottenere un premio in questa categoria dopo Kathryn Bigelow, nel 2010 per The Hurt Locker, e Chloé Zhao, l’…

[musicletter]

Premi Oscar 2022. I vincitori della 94ª edizione

Ecco chi sono i vincitori della 94ª edizione dei Premi Oscar, prestigioso riconoscimento cinematografico statunitense.

Si è svolta ieri, 27 marzo 2022, al Dolby Theatre di Los Angeles, la 94ª edizione dei Premi Oscar. I vincitori del prestigioso riconoscimento cinematografico statunitense sono stati: “I segni del cuore” di Sian Heder (Miglior film)Jane Campion (Miglior regista – “Il potere del cane”)Will Smith (Migliore attore protagonista – “Una famiglia vincente – King Richard”)Jessica Chastain (Migliore…

[abr]

Non toccarmi i dati insensibili

Sempre sul tema dati: mi ha impressionato molto più della APP IMMUNI, sentire da un analista di dati, tal Sensini se non ricordo male, un commento sulla evoluzione del contagio da Coronavirus.  

Un giornalista mostrava le curve delle morti da virus nelle nazioni europee da EL PAIS, dove emergeva come Spagna Inghilterra e Francia se la sian vista pure peggio dell’Italia (”punta” assoluta toccata dal grafico più alta che da noi, il che è grave per la Spagna che ha meno della metà dei nostri abitanti), ma come ora gli stessi Paesi stessero sperimentando una decrescita del numero di decessi molto più marcata della nostra. 

L’immunologa di turno liquidava la cosa con un rapido: “è un effetto dovuto a tanti fattori (la risposta è complessa: l’incipit dell’ignorante nel senso che ignora) ma primariamente si deve alla più alta percentuale di anziani nella nostra popolazione” (ma era rispetto a Francia Spagna e Uk, non al Ghana!).

L’analista la asfaltava così (sintetizzo): I NOSTRI DATI SONO FARLOCCHI. In più o in meno non si sa. 

Notava infatti che ad es. la domenica in Italì si registrano regolarmente MENO MORTI degli altri giorni. Il vairus non lo sa che è domenica e se ne frega del riposo, la chiave è in quel “si registrano”: basta ad es. leggere i dati giornalieri del Piemonte così come vengono pubblicati dall’Ente Apposito: “decessi rilevati oggi numero 54, DI CUI 12 NELLA GIORNATA”. Capito? IN ITALI’ SI CONTABILIZZA AD MUZZUM, QUANDO L’IMPIEGATO ADDETTO HA TEMPO. Ecco spiegate (forse) l’anomalia del “lento ritorno alla normalità” italico, il fatto che il contagio e i morti non scendano velocemente come altrove. 

Del resto CANE NON MANGIA CANE:  la burocrazia lenta agevola il permanere della burocrazia alta, cioè Gonde & Banda di Bolsi ed Esperti al Governo può legittimamente ammonire di non abbassar la guardia, come li ammiro. 

A proposito di grafici, il segreto meglio conservato nei prossimi mesi sarà certamente il paragone tra curve del contagio in Svezia che NON HA CHIUSO NULLA e l’Italì che ha fatto lockdown totale e generale: RISULTERANNO CIRCA UGUALI, senza manco farli al netto di densità e abitudini (il “social distancing” è più naturale diciamo per gli svedesi). 

Come a dire che il lockdown serve ai governanti decrescisti e felici (per la cadrega), molto più che alla salute dei cittadini. Ma questo non si dice. 

[natashamcgregorregeneration]

Sian Martin Artist Research

Sian Martin is a British textiles designer who teachers her skills through lectures and workshops, Sian was highly influenced by her parents but especially her mother who would create embroidery commissions on a large scale. Sian found her love for Shibori shortly after returning from a research trip in Japan. One thing that Sian mentions about Shibori is that she finds fascinating how tightly bounding fabrics can change the original shape of the fabric. If Sian was to describe her work to others she would describe it as stitch which has evolved into wrapping, threading, binding and looping along side conventional stitch.  Her work involves ideas of layers, translucency, suspended forms using threads such as wires, canes, willow and machine stitching in voids suspended ‘in the air. 

I really like Sians style of Shibori as she adds embroidery in it to add more texture and detailing, adding that extra bit of detailing really goes along way as that and the developed fabric make it almost unrecognisable to a plain piece of fabric that was used to start with, this is because it has been manipulated in so many different ways to make the final outcome more interesting. 

I could use Sians work to inspire my own in lots of different ways, I could also embroider into my work like she has to highlights the different designs that were created when the shibori was formed. Sians work strangely reminds me of the human body, I think this is because of the colours used, the pale tones, the reds for blood and the heart and then the purple for veins. 

[evecooperregeneration]

Sian Martin. Sians definition of stitch is a broad one that encompasses wrapping, threading, binding and looping as well as conventional stitch.  Her work involves ideas of layers, translucency, suspended forms using threads such as wires, canes, willow and machine stitching. Her love for textiles came from watching her mother create big threaded pieces From a young age. Then she pursued teaching for an bit of independency and money for herself but found it left her no time to do her own artwork. So reduced to part time teaching so she could do part time art making.

[isitandwonder]

Sherlock vs. Poirot

Folks, I think we have another one! And as David Suchet will be on Doctor Who tonight - it seems strangely fitting to post this today.

I watched “One, Two, Buckle My Shoe” from the Poirot collection today. And, wow, are there many parallels to Sherlock S4!

The story is a bit complicated...

It starts in India, with a Shakespeare performance. Not Henry V, but anyway:

There, we meet two actresses, Gerda Grant and Mabelle Sainsbury Seale. Gerda gets married to Alistair Blunt.

They all meet years later at their dentist Mr Morley...

Mr Morley is the first victim in this case. The others are Mr Amberiotis, or Ajey, as I will call him

And Mabelle Sainsbury Seale:

^^This one, not this one:

Because ^^this woman ist also this woman:

And this woman:

She’s also impersonating a Mrs Chapman...

Yes, one actress, Joanna Phillips-Lane, playing at least three different roles in this adaption - four if you count older Gerda as well (television history for Sian Brooke in S4 - my arse!). And her disguise is rather simple yet clever: with a big hat, cheap jewelery or glasses she disguises herself very good, adapting the main characteristics of the persons she impersonates... yes, like Eurus/therapist/E/Faith (as Moffat has said, a detail like a cane averts the eye).

I won’t go into the details of the case, but they play an elaborate charade to kill the dentist, and impostering people already dead plays a vital role in the cunning plan. It’s all because a secret from the past doesn’t come to light.

The killer, Alistair Blunt, is a very rich and very influentional banker (like CS is a very rich and very influential businessman and therefore thinks himself untouchable, superior) who deems himself above the law until the end. No one suspects him except Poirot, who is not fooled by wealth and power - like Sherlock in TLD with CS.

What I also found visually interesting were the little girls playing outside the dentist, singing the song the story derived its name from (and a shoe buckle is one important clue in the end). The song goes: 

One, two,Buckle my shoe;Three, four,Knock at the door;Five, six,Pick up sticks;Seven, eight,Lay them straight:Nine, ten,A big fat hen;Eleven, twelve,Dig and delve;Thirteen, fourteen,Maids a-courting;Fifteen, sixteen,Maids in the kitchen;Seventeen, eighteen,Maids in waitingNineteen, twenty,My plate's empty.

A bit like Eurus song. The songs pops up as some kind of echoe throughout the episode. And look at the girls, their shoes:

Those shoes, white socks, the sensible dresses reminded me very much of young Eurus, who, btw, is not at all dressed like a little girl at the beginning of the 1980s but rather than one in the 1930s:

See what I mean?

Ok, and bonus one: Lady Bracknell (here called Julia Olivera)

Or, as quoted in TFP by John: “The truth is rarely pure, and never simple.”

Bonus two is a young Christopher Ecclestone:

There’s more stuff in it like murder disguised as suicide, a woman in red firing a gun, alleged Secret Service ties...

Try to watch it if you haven’t yet.

@ebaeschnbliah @221bloodnun @waitedforgarridebs @mollydobby

[gregor-samsung]

A me par sempre di prodigarmi più di quanto dovrei. Non che io abbia da ridire nulla contro il lavoro, si badi: il lavoro mi piace e mi affascina, e me ne sto seduto a guardarlo per ore e ore. Godo nell’averlo da presso, e l’idea di liberarmene mi fa male al cuore. Il lavoro che si può darmi non sarà mai troppo; accumular lavoro è diventato in me quasi una passione: il mio studio ne è pieno così, ora, che non v’è più un pollice di spazio per altro, e dovrò tosto abbandonarne una parte. E con quanto rispetto, anche, tratto il mio lavoro! Un po’ del lavoro che io ho presso di me, l’ho da anni, e non si troverebbe su di esso neppure l’impronta d’un dito. Del mio lavoro sono orgoglioso; di tanto in tanto lo prendo per spolverarlo. Nessuno che, al pari di me, lo tenga in uno stato migliore di conservazione. Ma, benché io sia assetato di lavoro, desidero che le cose sian giuste, e non chieggo più di quel che mi spetta. Ma io me lo trovo senza volerlo – almeno, così sembra – e questo mi secca.

Jerome K. Jerome , Tre uomini in barca (per tacer del cane); 1ª ed.ne Bristol 1889;  traduzione di Silvio Spaventa Filippi. - Milano : Casa Ed. Sonzogno, 1922 (Matarelli)

[a-darling-thing]

After all that ranting, I will admit that I sort of like the theory that the end of TST is another ASiP (john killing someone to protect Sherlock) only this time there are witnesses, and it’s not so easy to cover up, so serious damage control has to be done.  I just find that plot unlikely outside the realms of fan fic.  

Though, I probably would have also thought that half the stuff in TSoT would have never happened outside the realms of fanfic too, so who knows...

Honestly I think that John needing an alibi in the next episode has more to do with Elizabeth showing up dead, and John being the prime suspect.  This would explain why they introduced her into the show in the context of ‘secret tryst’ (aside from her ramping up John’s guilt over Mary’s death), and it would also explain why Sian shows up in the next episode, looking very different, linked to John through visual parallels like the fact that she is using a cane, and seems to mostly appear in Sherlock’s mind palace (though since his mental health seems to be slipping, and drugs are involved, it’s really hard to tell what is real and what is hallucination in that episode).

And also, I’m still convinced that Mary knew about that tryst, perhaps is even behind putting Elizabeth in John’s path, and that it’s a part of whatever plan she set in place before she ‘died’.

[yixiangs]

atm my biases are who you call “joker with a gun” and “deep-ass vocals” but i’ve got a feeling candy cane fboi and whatever nickname you come up with for sian are going to be huge bias wreckers

DUDE I SAW KEVIN'S HAIR IN THE THIRD MEMBER PROFILE, WHAT THE HELL IS THAT I AM LOSING MY SHIT

BAHAHAHAHAHA IT’S STRAIGHTER THAN MY SEXUALITY