#also llewellyn has 4 L's

[how-to-spell-llewelyn]

Hi, I was just wondering if you are joking about not knowing how to spell Llewellyn's name, or if that is really the case. If it is, his name is definitely spelled Llewellyn. I don't know where the one l at the end came from, but every single time on the credits it is listed with 4. Nearly every time listed as Llewellyn, except two times where his name is listed as Llwellyn, which is clearly a mistake. The definite proof, however, for how Llewellyn spells his name is heard in season 15, episode 22 - Sweet Amelia. In it, Llewellyn himself confirms his name has 4 Ls and spells part of his name. From what he says and how his name is usually spelled in the credits, it is clear the correct way, again, is Llewellyn.

Part joking, part genuine, I made this blog very very shortly after Watts was first introduced, whichever episode they first reveal his first name, so there was still some lack of clarity over how to spell it and I think the first iteration of the wiki or some article or something, I can't recall exactly, but I remember googling it, spelled it Llewelyn, so I put that in tentatively while squinting at it, so at first it was a genuine question, how the Hell do you spell this man's name, google lied to me, but after a while, it became a joke because the spelling Llewellyn was confirmed, and also I'm just too... can't think of a better word, uh neurotic to change any of my urls ever, it feels like a monumentous impossible terrifying task for no reason.

[murdoch-mooseteries]

I NEED SOMEONE TO GIVE ME ATTENTION BECAUSE PRECISELY 3 MONTHS AGO DANIEL MASLANY REPLIED TO MY INSTAGRAM MESSAGE THANKING HIM FOR WATTS HELPING ME COME OUT. I HAVE HAD TUMBLR FOR 2 DAYS AND JUST DUG UP THE SCREENSHOTS

I'M COOLER THAN ALL OF YOU (jk you guys are cool too) i feel like @danielmaslany would enjoy this

[murdoch-mooseteries]

If this isn't the foreshadowing that PM is talking about I will kill everyone on this fandom and then myself

he literally hold.....

[tikkisaram]

D. H. Lawrence’s Delights of Being Alone

As strange as it sounds, D. H. Lawrence's Delight of Being Alone is a love poem to loneliness. What's more, it is not a naïve piece of romantic verse — it could easily be classed as erotic poetry. Once we realise this fact, it is with little difficulty that we can appreciate the masturbatory reading of the poem.

Here is the short poem in its entirety:

I know no greater delight than the sheer delight of being alone. It makes me realise the delicious pleasure of the moon that she has in travelling by herself: throughout time, or the splendid growing of an ash-tree alone, on a hillside in the north, humming in the wind.

The title of the poem prominently features the word 'delight', and the word is repeated twice in the first line. It is a word that is rarely associated with solitude, being obviously sexually loaded: it signifies "that which gives great pleasure" and has etymological origin in the Old French delit, meaning "pleasure, delight, sexual desire."1 It is clear that this is also a pun on the French délit, meaning offence or crime, associating delight with something forbidden.2 Such francophone puns are seen elsewhere in Lawrence's work: the title of his poetry collection Pansies puns both on the French verb panser and on Blaise Pascal's Pensées, for instance.

The body of the poem contains more suggestive vocabulary: the "sheer" delight; the "delicious pleasure" of the moon; the "splendid" tree. The repetition of the 'L' sound is especially noticable in the first two lines; it evokes a lush voluptuousness. We might expect to see such language in a censored poem by Baudelaire, not one about sitting by yourself under a tree. Given the circumstances, Lawrence really seems to be enjoying himself a little too much...

Before we examine the imagery in detail, let us address a potential criticism of this reading — someone familiar with D. H. Lawrence's other work may point out that he had a negative view of masturbation in general. He has a number of statements to this effect: in Pornography and Obscenity, he mentions "the vice of self-abuse, onanism, masturbation"; in Fantasia of the Unconscious, he says that masturbation "won't do you any good". Initially, this seems to disqualify such an interpretation of this poem. But if we research the topic, we see that Lawrence's attitude towards masturbation was far from straightforward.

An early poem by Lawrence, Virgin Youth, written around 1906, describes the act of onanism in detail. Despite the seemingly negative ending of the poem, its vivid description of masturbation hints at ambiguous and conflicted feelings towards it. Lawrence considerably revised the poem for its publication in The Collected Poems of D. H. Lawrence in 1928; the revision is much longer and amplifies the importance of the phallus in the poem. Cowan states that "Lawrence's increased focus on the penis in the graphic phenomenology of erection in the 1928 'Virgin Youth' suggests that the experience was of greater significance than he had recognized at the time."3

It also seems that the sexual fantasies that Lawrence masturbated to were sadomasochistic in character. Shakir notes that for Lawrence the imagery of parental violent conflict was a source of erotic stimulation, citing his early poem "Cruelty and Love" as an example.4 This is consistent with Freud's observation that a child sees the sexual intercourse of parents as an act of violence.

Cowan links the phallic elements of Lawrence's poetry with Shakir's observations about his fantasies through Freudian psychoanalysis, noting that "[Lawrence's] lifelong preoccupation with the image of the phallus, however, suggests, in object relational terms, a continued search for the father's penis as a part object that could substitute for the unavailable nurturant whole paternal imago that still could not be reliably established and stabilized in object constancy." He states that "Lawrence's adolescent shame about his sexual fantasies derived from the homoerotic wishes they expressed" and concludes that Lawrence's attitude towards masturbation "derived primarily from the shame he felt about the nature of his own masturbatory fantasies. It derived secondarily from his conscious response to the hypocrisy of official disapproval of masturbation, though hardly the private abstinence from it, in the society in which he matured from childhood through adolescence to young manhood."5

It is obvious, then, that Lawrence's unambiguous statements did not truthfully reflect his supressed feelings and inner turmoil; he seems ashamed to be fascinated by masturbation. In Fantasia of the Unconscious, when arguing against masturbation, he admits: "I know what it is, I tell you. I've been through it myself," acknowledging it as an area of conflict.

Armed with this crucial knowledge, let us return to the imagery employed in Delight of Being Alone. There are two images in the poem — the first, that of the moon, fits in easily with this interpretation. The moon is historically a symbol of fertility; it is important in occult sex magic. For example, U. D. Frater describes the following ritual: "...stand facing the moon and raise your arms with your palms streched toward her. Let yourself be flooded with the rays of the moon. ... When you are fully flooded with the energy, excite yourself sexually by masturbating. ... Little by little you should become the Moon Goddess herself, culminating in the orgasm."6 He also mentions intuition and the subconscious as Lunar "correspondences", which gives us a link between Lawrence's inner, repressed feelings and the image of the moon.

The image of the ash tree, on the other hand, links with one in Lawrence's novel Sons and Lovers, where in a description of domestic violence he mentions "a piercing medley of shrieks and cries from the great, wind-swept ash-tree." Four elements connect the two images: the tree, its species, the wind and the sounds coming from the tree, which in the case of Delight of Being Alone are changed to "humming", shifting the focus to the pleasant — sexual — aspects involved. The sexualisation of parental violent conflict — as per Shakir's findings — is clear in this image.

We cannot know to what extent Lawrence was aware of the masturbatory elements of this poem. It is possible that he remained consciously opposed to the act of onanism while subconsciously inserting his feelings and fantasies into his work. This would explain why such traditional, Victorian ideas were expressed by a writer at the forefront of sexual liberation, seemingly incongruent with the "immersion in the world, sensual and ecstatic"7 and "acute awareness of the rich materialism of things available to our senses"8 that the poet Czesław Miłosz praised him for. The beauty of poetry analysis is that it allows us to discover truths unkown even to the poets themselves.

Online Etymology Dictionary ↩︎

Cambridge French-English Dictionary ↩︎

Cowan, James C, "Lawrence, Freud and masturbation," Mosaic: A Journal for the Interdisciplinary Study of Literature 28:1 (1995). ↩︎

Shakir, Evelyn, "'Secret Sin': Lawrence's Early Verse," The D. H. Lawrence Review 8.2 (1975): 155-75. Cited in "Lawrence, Freud and masturbation." ↩︎

Cowan, James C, "Lawrence, Freud and masturbation." ↩︎

Frater, U. D. (Ralph Tegtmeier), "Secrets of Western Sex Magic: Magical Energy and Gnostic Trance", (Llewellyn Worldwide: 2001), pp. 105 ↩︎

"jego zanurzenie w świecie, zmysłowe i ekstatyczne" [Miłosz, Czesław, "Postscriptum," in Życie na wyspach (Znak: 2014), 123-141, pp. 132.] ↩︎

"Poeta wyjątkowej wrażliwości na bogatą materialność rzeczy dostępnych naszym zmysłom" [Miłosz, Czesław, "Przeciw Poezji Niezrozumiałej," in Życie na wyspach (Znak: 2014), 107-122, pp. 118.] ↩︎

[prelawland]

A Brief Analysis Of Legal Realism For The PreLaw Student

By Adam Naddaff Slocum, Bates College Class of 2022

March 16, 2021

As a PreLaw student it is important to understand different legal theories, especially legal realism. The Legal Realist account of law believes that if one wants to find out what law is they should turn their attention to what legal officials do. Legal realist Oliver Wendell Holmes wrote that the concept of law is the prediction of how legal officials would react to an action. For example, Holmes argues to think of yourself as the “bad man”, and if you were to break the law, you would want to find out what would happen to you through predicting how legal officials would react. Legal realists are not concerned with the philosophy behind the law, but are concerned with the empirical examination of how the legal system operates.[1] These theorists will argue that before any decision is decided, judges have a hunch about a ruling, and this is the law, not the principle they use to justify their hunch.

Legal realists such as Karl Llewellyn argued that in legal systems there are a plethora of rules, so legal officials could find a rule to validate whatever decision they wanted to reach.[2] Therefore, since there is a thrust and parry to everything, the judge’s decision is the law, not the principles. Fittingly, legal realists view judges as policy makers similar to how legal positivists would view legislators and bureaucrats. For legal realists, after a judge creates policy, they then look at legal rules. Legal realists believe that judges use more than “rule of recognition” to justify their decisions because they also have non-legally valid ways to justify decisions. Essentially, legal realism is all about the mantra, “the law is what the courts say it is” and judges can make decisions contrary to clear indications of settled rules.

British legal philosopher H.L.A. Hart has many objections to legal realism, and argues that judges should not use mere deduction in deciding cases. He believes that the judiciary is indeed rule governed. Before making decisions based on their hunches, Hart argues that judges should consult a set of rules that are already recognized as legally valid through the rule of recognition. Hart proves this point through elaborating on the problem of the penumbra, a problem where a legal statute is unclear, so an additional decision must be made.[3] For example, “The no vehicles in the park” statute does not classify what a vehicle is. Instead of using deduction as a legal realist would in determining what a vehicle is, Hart argues rational decisions that go beyond simple logical reasoning must be made. However, Hart does agree that in hard cases such as this, moral reasoning and social aims can be taken into account. This is why he believes legal realism can be a secondary rule in the rule of adjudication whereby judges can execute final authority through moral or social aims in judging a decision. To an extent, the law is what the court says it is, but not entirely.

Nevertheless, in cases dealing with particulars, logic can have many shortcomings, and rules need to be consulted. Hart believes that without rules, decisions are senseless. This goes back to Hart’s criticism of British legal philosopher John Austin that society cannot recognize the enforcer of the law as also the source. A judge may be the enforcer, but enforcement is not the source of the rules.[4] For example, the game soccer is defined through a system of rules, the referee is not the source of the rules, but merely the enforcer. Finally, key to Hart’s argument against legal realism is that just because judges have the final say, does not mean they are right. For Hart, finality is not infallibility.

In regards to Legal Realism, American philosopher Ronald Dworkin would say that judges do not make law, but discover it. Dworkin believes in principles that guide a judge’s decision. He does not like Hart’s idea of all or nothing rules, but favors principles that can help guide judges in the right direction. As a result, Dworkin believes principles are binding legal standards that guide judicial reasoning. In some cases, they can even determine a result.[5] He argues that if courts are endowed with the authority to alter the rules of law, then they must be guided by binding authoritative principles, or else they will be Austin’s  “uncommanded commander”. These principles can be legislative intention, precedent, and common law. There is no rule of recognition for principles as they are accepted as binding through a sense of appropriateness in society. According to Dworkin law is an interpretive concept, but it is much more holistic than legal realists make it seem. Judges are in fact constrained by law, but also guided through principles. Like Hart, Dworkin would not say that “the law is what the court says it is”.

In short, legal realism is a complex but important legal theory for PreLaw students to understand.

______________________________________________________________

[1] Radin, Max. "Legal Realism." Columbia Law Review 31, no. 5 (1931): 824-28.

[2] Friedrich, C. J. "Karl Llewellyn's Legal Realism in Retrospect." Ethics 74, no. 3 (1964): 201-07

[3] Leiter, Brian. "Legal Realism and Legal Positivism Reconsidered." Ethics 111, no. 2 (2001): 278-301.

[4] Hart, H. L. A. "Positivism and the Separation of Law and Morals." Harvard Law Review 71, no. 4 (1958): 593-629.

[5] Dworkin, Ronald. "Law as Interpretation." Critical Inquiry 9, no. 1 (1982): 179-200.

[equinoxparanormal]

The Top Five Country Superstars Who Soared Up the Supernatural Charts

Name one religion or type of spiritual system that doesn't incorporate music into its worship services in some way.

It's not easy, is it?

From singing hymns to beating drums, and from the rhythmic chanting of prayers to the soaring organ fugues of Bach, music is a spiritual tool that connects mind and body to the divine spirit.

While country music, one of America's longest lasting forms of popular music, is considered secular, its roots are steeped in the rhythms and melodies of gospel music and centuries-old folk hymns. Fans may tap their feet and sway their partners to the soothing rhythms and they may sing along to the lush harmonies, but, all the while that they dance and sing, the spirit of this music fills their souls.

It's not just the fans that understand this. The musicians who wrote, performed, and catapulted this simple and rural music into the bright lights of big city theaters and stadiums sensed the power of their art to bridge hearts, minds, and souls.

Some experts on the supernatural say there is another way we can measure the powerful spiritual effect of country music: the number of stories about ghosts and spirits that are told by country musicians and—maybe more importantly—the number of country music stars who are said to still live on even after they have left the mortal stage.

Explore this list of five country music celebrities who hit the charts of an entirely different sort—Country Music's Most Supernatural Superstars:

1. The Haints of Butcher Hollow: Loretta Lynn Some celebrities make it to Country Music's Haunted Hall of Fame because they are ghosts; others are inducted there because they seem to have an unmatched affinity with paranormal activity and supernatural forces. Loretta Lynn, also referred to as the Queen of Country Music and the Coal Miner's Daughter, certainly belongs in the latter category.  Since she was a child, Lynn has experienced a range of paranormal phenomena, or haints, as ghosts are called in the Appalachian hills that she called home. One tale that has circulated about Loretta's early encounters with the paranormal happened when she visited a neighbor's home for a little session of trick or treating as a kid (the emphasis should be on the tricking part, as you'll read.) She and a friend crept up on a neighbor's porch ready to soap the window. The would-be tricksters looked in the house and saw the target of their prank, an older lady, quietly sitting in the living room. A few seconds later, though, Loretta looked behind her she saw the same woman walking in the garden. Obviously freaked out, the two girls ran as fast as they could. That's one way to foil a Halloween prank. She might have been able to outrun the spirit world in this incident, but they caught up with her again—in a big way. Paranormal researchers regard the country legend's mansion, Hurricane Mills, as one of the most haunted properties in Tennessee, maybe even the country. Loretta claims she's had numerous paranormal encounters there, from poltergeist-like movement of objects to actual apparition sightings.

2. Of King and Country: Elvis Presley He's known as the King of Rock and Roll, but Elvis Presley embraced country music throughout his lifetime. One of his first hits, "Blue Moon of Kentucky," after all, was just his hip-gyrating version of a Bill Monroe classic. He even auditioned at one of country music's most haunted hot spots: The Ryman Auditorium. It didn't go so well there. Despite a sometime rocky relationship with country music, the connection between the King and country did not die after Elvis passed on, according to some. Presley's spirit is still reaching out to country fans and can be found in a few places near and dear to the country fan's heart. One of those places is, ironically, the Ryman. According to one account, Elvis's daughter was performing at the Ryman and went to her dressing room. When she tried repeatedly to open the door—and even her burly bodyguard gave it a shot—she finally yelled that she was calling for security. That's when she and her entourage heard a laugh that sounded like Elvis's and the door easily popped open. Elvis apparently did not—you know what’s coming—leave the building.

3. Haunting After Midnight: Patsy Cline Patsy Cline, owner of one of country's, if not pop music's, most original voices, and the aforementioned Loretta Lynn were soul sisters in more ways than one. They had complementary personalities, as well as complementary philosophies about careers, relationships, and life that helped them sculpt one of the tightest friendships in the highly competitive country music industry. They must have shared stories about the paranormal. When Cline died tragically in a plane crash, Lynn wrote "This Haunted House" about her friend's death. While there's no indication that Lynn saw Cline's ghost, others have claimed to have encountered the singer's spirit. In fact, there are many witnesses who say the First Lady of Country Music hasn't quite left the stage. One owner of Cline's former Nashville area dream house says he's experienced paranormal activity that is attributed to the singer. He has even heard the distinctive click of high heels—just like the ones Patsy would have worn—walking across the floor. The spirit of Patsy, it seems, may be still walking after midnight. In addition to this house, Cline's spirit is still active in the bar circuit around Nashville. She's been spotted in several, including country music's most famous watering hole, Tootsie's Orchid Lounge.

4. Grand Ole Ghostie: Roy Acuff Roy Acuff loved country music and he loved the Grand Ole Opry, the radio show that he owed so much to. When Acuff passed away in 1992, a lot of the folks who worked at Opryland at the time, the country music-themed entertainment complex where Acuff's house rested, believed Roy would be sticking around. They were right. People who worked in his house—which was repurposed as a museum —began to notice weird activity. Objects began to disappear in certain places and reappear in others. They believe it's just Roy saying, "I'm still here, I still love the place, and I'm not going anywhere."

5. Not So Long Gone: Hank Williams Arguably the most influential country artist and possibly American popular music, is the long, lanky, and lonesome Hank Williams. Williams, in a lot of ways, gave birth to what we now consider country music. His songwriting stitched together threads of folk, blues, and gospel to create a unique style that is as unmistakable today as it was in the mid-20th century when his songs began to fill the airwaves and his haunted presence began to fill concert halls and auditoriums. When Williams died in 1953, those haunting performances became haunted performances, as people all around the country began to have encounters with the post-mortal remains of the Hillbilly Shakespeare.  Williams is connected with several haunted country hot spots  already discussed. He's been seen in the Ryman, for instance, and drifting along the alley to his favorite old—and perhaps current—haunt, Tootsie's Orchid Lounge. Say hello to Patsy when you're there, Hank.

Looking for more haunted country music artists, venues, recording studios, and more? Check out Matthew Swayne’s book, Ghosts of Country Music.

[Matthew L. Swayne, Llewellyn]

[wordacrosstime]

London Book Fair 2017 - Day 2

Olympia was the heaven of of the gods in Greek mythology.  They'd find London's Olympia exhibition halls not quite up to their normal standard, but equally it would be worrying to meet Zeus & Co on the Harper Collins stand at the London Book Fair, which godlessly makes its home there 14-16 March 2017.  Tickets £40 if booked in the cloud/s.

The guide map shows around 1,250 exhibitor stands and meeting places - 850 or so on the ground floor and another 400 on the first.  It's easy enough, though to wander along all the aisles, see all the stands and take in a couple of seminars in a day.  It opens at 09:00 closing at 18:30 the first two days and a little earlier on the last.  The visitor's pass is valid all 3 days and a lot of writers go for all three.

Fiona Marsh chairs a seminar at the crack of dawn (for writers, who usually get up around the afternoon) 09:45-10:30: There Has Never Been A Better Time To Self-Publish, at venue Authors HQ.  Speakers are Jeremy Thompson chief executive of Troubador Publishing Ltd which both publishes and self-publishes writers (ie writers pay for the latter, which is under the company's Matador Publishing brand), and Jon Watt chief executive of Type & Tell, a subsidiary of Swedish publisher Bonnier Publishing Ltd.  A point that emerges is the importance of metadata, which Jon Watt explains means price, blurb and all other information about the book.  Get it right, he stresses, as it's what retailers see online.  He says also that in his previous career in a conventional publisher, there was a saying that sales of 600 weren't bad for a debut writer.  It wasn't till sitting through 40 minutes of these generally quite interesting talks that a brave man in the audience asked the question the audience was there for: how much?  Hums and hahs from Messrs Thompson and Watt. But the former struck out with a range of £300 to £10,000; Mr Watt followed with a vaguer 'early hundreds to 5-10 thousand' (pounds); depending in both cases on ebook and/or print, black and white or colour, other variables, and which services were used.

Darren Hardy (Kindle UK chief executive) chairs a seminar: A How To Guide For Independent Publishing With Kindle Direct Publishing, 16:45-17:30, at Authors HQ. The first 15 minutes are very helpful, showing quickly the screens shown online when registering a book on Kindle and uploading it.  In the remaining 30 minutes he introduces 3 judges for a Kindle book competition The Storyteller, details online, deadline in May 2017.  They discuss the various criteria of judgment and their thoughts about books to questions by Darren Hardy.  There's a Q&A.

Walking round the exhibition stands and meeting people is the essence of fair, and for writers it's a matter of discarding shyness and going up to people.  Inevitably the exhibitors are friendly, so caution can be thrown to the wind.  There's a lot of serendipity too in what you can chance upon, and it's easy enough to ask what the company does if not immediately obvious.  Stands include publishers of all sizes from vast to tiny, broad to specialist.  There are firms supplying unusual services within the printing, publishing and book-handling trades.  Walking round the aisles having a chat with interesting or puzzling ones - not forgetting the massive ones - is a good way to get a feel for where the book industry is now, and its components.

Here's some of the hundreds of people at the Book Fair today on stands, in seminars or rushing (/ ambling; writers tend to do this) around.

There's a delightful Illustrator's Gallery on the first floor with the work of several illustrators including students from Gloucester University, based in Cheltenham.  Esther Stephenson is among them, showing beautiful work in her portfolio.  The Kindle stand has helpful staff ready to discuss writers' work on an individual basis; they include Mark Reid and Elizabeth Wood, both thoughful and considerate people with great enthusiasm for writers and what they are trying to achieve.

Julia Goumen, partner at Banke, Goumen & Smirnova - a literary agency based in St Petersburg, Russia - is at the Russia stand discussing books with clients and superbly chairing talks on contemporary Russian literature.

ACC Publishing distributes books including the Royal Academy's publications, and the work of Royal Academician and remarkable US-based artist Bill Jacklin.  Brent Fentiman is business development manager for McKinleys Group Trading Ltd which makes packaging specifically for books - with samples well worth looking at on their stand for anyone aiming to post out their own books to customers.

Angus Phillips is the director of studies for Oxford Brookes University's publishing course - the Oxford International Centre For Publishing Studies.  They've just won 3 out of 4 major prizes and their student are around the exhibition in the exhibition organiser's team.

The charming and undoubtedly urbane Matthew Smith is managing director of independent publisher Urbane Publications, a forward-looking company (we've reviewed two of their books: Sod The Bitches! by Steven Berkoff, and Leaves, by John Simmons).

And writers.  Jason Cook is the writer of four novels (we've reviewed There's No Room For Jugglers In My Circus) and one children's book.  Lorraine Reed has two published books.  Elliot Stanton has two published books.  Children's author Emily Payne has three published books.  Sylvester Onwordi is publishing the works of his late mother, novelist Buchi Emecheta, with plans to publish other writers in the future.

Lucy Llewellyn provides detailed pre-and post-publication services to writers and publishers with her colleagues at Head & Heart Publishing Services, based at London's King's Cross.  It used to be famous for prostitutes and drug dealers but demolition, a new front to the railway station, and Lucy's presence have raised the tone.

[L-R above] Elliot Stanton, Jason Cook, Lorraine Reed, Emily Payne]

[above] Matthew Smith, managing director, Urbane Publications]

[above] Angus Phillips, Oxford International Centre For Publishing Studies

[above] Lucy Llewellyn, Founder, Head & Heart Publishing Services

[above] Esther Stephenson, illustrator, self-portrait

***

John Park

wordsacrosstime

Wednesday 15 March 2017

[murdoch-mooseteries]

Wait do you know what I just realized.................... I am obsessed with watts murdoch mysteries. like all the gay stuff crime solving, and badly lit gay kisses with 5 second long happy moments of embrace that are gay in nature murder are like what I live for.