#authorship question

[tanadrin]

@intimate-mirror

a lot of the scholarship, like a lot of english department scholarship in general, is really bad and makes stupid assumptions @tanadrin some things I've seen are 1. criterion of embarrassment used effectively in a negative way where all claims that are not embarrassing are labeled as probably false 2. "these are written in different styles, so they have to have different authors" I'm exaggerating a bit, but only a bit.

point 2 here is a drastic oversimplification of the documentary hypothesis. it's not just that the different sources use different words for god (although that on its own is interesting), it's that you can separate these sources, and get distinct stories with their own beginnings, middles, and ends that don't have the problems of the original texts (confused details, repeated episodes, out-of-context scenes), and their own governing thematic concerns. moreover, there are pretty specific hypotheses for why the sources would have been combined in the way they are, based on the material constraints on the production of ancient scrolls.

liane feldman, for instance, has a complete translation of P ("The Consuming Fire: The Complete Priestly Source from Creation to the Promised Land") and in her interview with dan mcclellan on his podcast she talks about how it is effectively a complete text. now, obviously, there are details of the documentary hypothesis that are debated--i think the traditional four-source version is considered out of date by some scholars, who instead argue for two or three sources onto which other elements gradually accreted that were never a standalone text themselves--but the scholarship is way more sophisticated than "these passages are in a slightly different style, and therefore they must have different authors." these are theories that produce pretty specific and coherent claims, and even if they're by and large not testable in the sense we have very ancient sources we can consult directly (outside of the occasional find like the Dead Sea Scrolls), they're testable in the sense that you can marshal specific points of evidence for and against them and make reasonable judgements based on the balance of probability.

a lot of points of textual criticism do dovetail with other disciplines like archeology, comparative mythology, historical linguistics, etc. so i think it's either disingenuous or ignorant to paint textual criticism as operating in a kind of methodological vacuum and proceeding entirely on nebulous suppositions.

[thatgirlonstage]

I think I am mostly relieved but a tiny bit disappointed that Somerton has not, as far as I saw, ever done a video on something Shakespeare-related. Relieved bc I truly don’t have the time or energy to be as angry as it would inevitably make me but a little disappointed just bc I wanted a chance to play spot the plagiarism with a topic where there’s an extremely nonzero chance I would’ve actually read the sources he would be cribbing from

[lizziestudieshistory]

Books of 2023 - January

I'm trying something new and writing vague thoughts on the books I've read this month as I've finished them. So if I repeat myself or I ramble (more than usual) then I apologise. Not that anyone reads these anyway 😅

The Winter's Tale by William Shakespeare - pleasantly surprised! I remember not getting on with The Winter's Tale when I first read the play as I found it disjointed. However, this time I really got into the themes and Shakespeare's examination of age/corruption/irrational passions vs. youth/rejuvenation/constancy in love. It's a WEIRD play and it definitely has a confusing plot, however, I did enjoy myself.

Rhythm of War by Brandon Sanderson - an underwhelming reread. Rhythm of War wasn't my favourite to start with and this reread really showed how formulaic sections of this book were (mainly ALL the stuff in Urithiru). I really didn't need another Kaladin fight scene after part one and that's sort of half the book... I did enjoy elements, such as looking at Kaladin's depression and Raboniel, but the vast majority was disappointing.

On the Knocking on the Gate in Macbeth by Thomas de Quincey (essay) - interesting essay I read randomly whilst on a break in the library at uni, it discusses act 2 of Macbeth and how Shakespeare creates an emotional response from the audience with a knock. I don't have much to say tbh...

Shakespearean: On Life and Language in Times of Distress by Robert McCrum - a pointless vanity project that shouldn't have been published. I only continued with this because I bought it and I NEVER buy nonfiction - clearly a rule I need to stick to! The points of interest came from McCrum pulling from other people's work (and citing it badly!!!) either by paraphrasing or directly quoting. I still don't really know what McCrum had to say for himself on the subject of what makes Shakespeare "Shakespeare" or "Shakespearean"... So what was the point? I also found myself disliking McCrum on a personal level, he came across like that unpleasant public schoolboy in your uni class who thinks he's smarter than everyone else, and is slightly sexist... Not a great impression.

Twelfth Night by William Shakespeare - a reread of an old favourite. I found this read very different to my previous experiences, this isn't to say that I didn't enjoy it but I found myself bored with the "B" plotline with Malvolio and Sir Toby Belch... And Olivia wasn't as dazzling as usual... However, I did really enjoy discovering how fabulous Viola is and thinking about late Elizabethan/early Jacobean gender norms and identity. So swings and roundabouts.

A Wizard of Earthsea by Ursula K. Le Guin - I really wasn't expecting to like Earthsea, I'm not sure why but I had a feeling it wasn't going to be for me... I was so wrong! I had a lovely time with this first book. I don't think it's going to be a new all-time favourite series, but it is one I'm going to enjoy picking up every now and again as the mood takes me. Le Guin is a beautiful writer, her prose is lyrical and captivating in a way we rarely see in fantasy. It's simple, elegant, and layered - a child could read Earthsea and yet there is a rich thematic lining to this story that I loved pondering as I read through. The characters and narrative distance did mean I couldn't lose myself in the story as I would with someone like Robin Hobb, but I loved A Wizard of Earthsea in a different way. I'd highly recommend giving it a go if you're interested in classic fantasy!

The Poems by William Shakespeare - I've never tried Shakespeare's poetry before, at least not seriously, you can't go through the British education system without reading sonnet 18 at some point. Poetry usually isn't my thing and I only enjoy epic and narrative poetry...and this is still the case, as this collection proved. I enjoyed Venus and Adonis, and The Rape of Lucrece much more than The Phoenix and Turtle or The Passionate Pilgrim. Both of the longer narrative poems gave me something to think about, usually surrounding the themes of each poem and its historical context. The shorter works I found myself largely indifferent - although The Phoenix and Turtle is very beautiful.

[thatwritererinoriordan]

One could always become a Beatles truther who insists the lads didn't write any of their own lyrics and that said lyrics were actually written by William Shakespeare, who wrote them down and hid them somewhere in Stratford-upon-Avon, where they were discovered by Ringo as a child while on a family holiday.

the beatles are an infuriating band to me as a relentless contrarian. liking them is cliche, hating them is cliche, being indifferent towards them is cliche. it's impossible to have an novel or interesting take on the beatles in current year. like how am i supposed to win here?

[sieanityr]

Do you like an ugly angel or a beautiful demon?

[rzvera]

mr shelgunov you cannot just mention that chernyshevsky wrote the proclamation to barsky peasants in your memoirs like it's nothing... hello...

[le-fils-de-lhomme]

When did it become impossible for people to scroll down a page to find the hyperlinks they need.

[nangbaby]

I think it's funny how the same people who believe audiences are allowed to interpret things how they want now absolve an author of any fault in a communication if the audience or reader does not understand the author's message. If interpretation is up to the reader, the author has no message except what the readers bring to it.

For instance, if I write something I insist is not intended to cause harm, people are determined to misunderstand and say that it is causing harm, then it's supposedly my fault for writing it and are "right" to block me for it. But isn't blocking on a misunderstanding the opposite of critical thinking, as well as a circular process as it makes re-evaluation impossible (writer writes, a reader misunderstands, then blocks, another writer writes, a reader misunderstands, then blocks)?

[prokopetz]

Don’t know if you’ve already answered a question like this, but what is your opinion on the rise of meta stories in the general media space? Stories that tackle the nature of the story they’re telling or do/don’t do a trope while aknowledging that it sure is a trope that is used in stories.

In the year 1615, Spanish author Miguel de Cervantes published the second part of what had become his most well known work, the novel Don Quixote. Though its plot ranges widely, the premise of this second volume involves, in part, the tale of the protagonist's earlier adventures having been published in book form (possibly by a wizard), resulting in several encounters in part two with characters who've read part one – in effect, the novel Don Quixote exists within its own text.

At one point, the titular Quixote meets a man named Don Alvaro Tarfe, a character from an unauthorised Don Quixote sequel published by a rival author; though Tarfe claims with seeming sincerity to be a great friend of Quixote, he does not recognise the man standing before him now, apparently having befriended a different version of Quixote in his earlier travels. This episode frames a metafictional commentary on the idea of literary canon and the notion of "authenticity" in authorship.

[erika-xero]

Beware, the long post incoming. Pro tips for artists who work on commissions!

DISCLAIMER: I do not have, like, a HUGE online following and can’t be called a popular or viral artist, but I do have some experience and I’ve been working as a freelance artist for more that five years, so I could share a few tips on how to work with clients with my fellow artists. Scroll down for the short summary!

First of all, you always need to have your Terms of Service written down in a document that is accessible for your potential clients. And by terms of service I don’t mean a set of rules like “I don’t draw mecha, anthro and N/S/F/W”. There is much more into it, than you may think when you first start drawing commissions.

You’ll need to understand how copyright law/author’s rights in your country works (for example, US copyright or Russian author’s rights, be sure to check your local resources). There are a bunch of sites where you can actually read some legal documents (. I know it might be boring, but TRUST me, you WILL need this knowledge if you choose this career path.

Russia, for example, is plagued with shops selling anime merchandise. The merchandise is usually printed somewhere in the basement of the shop and the shop owners literally rip off other people’s intellectual property. If the artist ask them to remove their IP from the shop the owners usually try to fool them with lies about how the IP works. They will tell you, that you have to register copyright on every single drawing and if you don’t do it anyone can reproduce and sell your artwork. In reality, copyright law in most countries simply doesn’t work this way. Once you create an original work and fix it, take a photograph, write a song or blog entry, paint an artwork, you already are the author and the owner. Yes, there are certain procedures of copyright registration, which is only a step to enhance the protection, but you become an author the very moment you create a piece of art, and no one have a right to take your creation from you. Knowing your rights is essential.

Some of your commissioners may try to scam you too, but most of them might simply not be aware of how copyright law works. I literally had people asking me questions whether or not the character I am commissioned to draw becomes MY intellectual property. I literally had to convince the person (who was legit scared, since the commissioned piece was going to be a first image of his character ever created) otherwise. If you have an idea of the character written down or fixed in any other form such as a collage, a sketch, or a concept art -- the character is yours. Artist may have rights to the image they create, but not the character itself. Your potential commissioner must acknowledge that their characters, settings and etc. is still theirs, while your artwork is yours, if your contract doesn’t state otherwise. You can sell the property rights on your artwork to your commissioner if you want, but it is unnecessary for non-commercial commissions. And I strongly advice you to distinguish the non-commercial commissions from commercial ones and set the different pricing for them. Even if you sell ownership of your artwork to your commissioner, you can not sell the authorship. You will always remain an author of your artwork, thus you still have all the author’s rights stated in the legal documents.

Another thing that is absolutely necessary to be stated in your terms of service is information whether (and when) it is possible to get a refund from you. You absolutely have to write it down: no. refunds. for finished. artworks.

You have already invested time and effort to finish an artwork. The job is done and the money is yours. I’ve heard stories of commissioners demanding refund a few months later after the commission was finished and approved by the commissioners, because, quote “I do not want it anymore”. Commissioning an artist doesn’t work this way, artwork is not an item purchased on shein or aliexpress that can be sent back to the seller. It is not a mass production. It is a unique piece of art. Example: My friend once drew a non-commercial commission for a client who tried to use it commercially later on. She contacted him and reminded of the Terms of Service he agreed with, offering him to pay a fee for commercializing the piece instead of taking him to the court or starting a drama. He declined and suddenly demanded a full refund for that commission via Paypal services. My friend contacted the supports and showed them the entire correspondence with that client. She also stated that the invoice he paid included a link to the Terms and Service he had to agree with if he pays that invoid. The money were returned to her.

However, partial refund can be possible at the certain stage of work. For example, the sketch is done, but something goes horribly wrong. Either the client appeared to be a toxic person, or an artist does not have a required skill to finish the job. I suggest you keep the money for the sketch, but refund the rest of the sum. It might be 50/50 like I suggested to my clients before (when I still could work with Paypal), but it really depends on your choise. I suggest not doing a full refund though for many reasons: not only you make yourself vulnerable, but you also might normalize a practice harmful to other artists this way.

The main reason why full refund when the sketch/line-art are done must not be an option is that some clients may commission other artists with lower prices to finish the job. This brings us to the next important point: you absolutely need to forbid your clients from altering, coloring or overpainting your creation or commission other artists to do so. This also protects your artwork from being cropped, changed with Instagram filters or even being edited into a N/S/F/W image. Speaking of which. If you create adult content, you absolutely need to state that to request such a commission, your commissioner must at least be 18/21 years old (depending on your country). And as for the SFW commissions you also have to state that if someone underage commissions an artwork from you it is automatically supposed that they have a parental concern.

There is also a popular way to scam artist via some payment systems, called I-did-not-receive-a-package. Most of the payment systems automatically suppose that you sell goods which have to be physically delivered via postal services. This is why it is important to state (both in the Terms of Service and the payment invoice itself) that what commissioner is about to receive is a digital good.

And the last, but not the least: don’t forget about alterations and changes the commissioner might want to make on the way. Some people do not understand how difficult it may be to make a major change in the artwork when it is almost finished. Always let your commissioners know that all the major changes are only acceptable at early stages: sketch, line-art, basic coloring. Later on, it is only possible to make the minor ones. I prefer to give my commissioner’s this info in private emails along with the WIPs I send, but you can totally state it in your Terms of Service. I do not limit the changes to five or three per commission, but I really do appreciate it when I get all the necessary feedback in time.

To sum this post up, the info essential for your Terms of Service doc is:

- The information on whether or not your commissions are commercial or non-commercial. If they are non-commercial, is there a way to commercialize them? At what cost?

- The information on author’s and commissioner’s rights;

- The information on whether (and when) refunds are possible;

- The prohibition of coloring, cropping, overpainting and other alterations;

- The information on whether or not you provide the commissioner with some physical goods or with digital goods only;

- Don’t forget about your commissioner’s age! If you work with client who is a minor, a parental consern is required. And no n/s/f/w for underage people!

- You may also want to include that you can refuse to work on the commission without explanation in case you encounter a toxic client or feel like it might be some sort of scam.

- I also strongly suggest you work with prepay, either full or 50% of total sum, it usually scares off the scammers. I take my prepay after me and my client agree on a rough doodle of an overall composition.

- I also include the black list of the themes: everyting offensive imaginable (sexism, homophobia, transfobia, racism, for N/S/F/W artists it also might be some certain fetishes and etc). Keep your reputation clean!

- Ban N/F/T and blacklist the commissioners who turn your artworks into them anywayss, don’t be shy <3

These are the things that are absolutely necessary but are so rarely seen in artists’ Terms of Service that it makes me sad. Some of these tips really helped me to avoid scams and misunderstandings. I really hope it helps you all!

[kiki-is-being-purples]

TLDR: Only someone who had an education could have produced such literary genius, and we don’t have any proof that Shakespeare went to school. So clearly William Shakespeare wasn’t the true author.

Thing is, we also don’t have any proof that he *didn’t* go to school because the kind of school he would have attended as a child did not keep any records about its students. Including who they were.

Personally I find it suspicious that no one gave a twit about Shakespeare’s background until he was named the greatest writer of all time. Then suddenly it was an issue. Almost like those in power didn’t want the severely suppressed working class to realize that lineage doesn’t decide a person’s future.

Hello. What are your thoughts on the Shakespeare authorship controversy? You seem like a Stratfordian (or maybe that's wishful thinking)

I think that extraordinary claims need extraordinary proof, and that the idea that Shakespeare had to be an aristocrat rather than a working playwright is founded in snobbery rather than in any kind of realistic estimate of the writing skills of the British artistocracy.

[comicaurora]

I rewatched an old charity stream and had a question: do you think My Immortal was genuine?

I didn't at the time I read it, but at this point, having watched a BUNCH of videos about fake My Immortal authorship confessions where every single one of them claims it was a joke and Bad On Purpose, my contrarion ass is inclined to believe it was, in fact, legitimately sincere on the part of the writer.

Sometimes a thing gets written because the writer really, really wants it to be good and make sense to the audience. Sometimes a thing gets written because the writer profoundly enjoys the act of writing it, and the audience is entirely secondary. Most writing is usually a combination of both motivators, but early online fanfiction especially skews heavily towards the latter; things get written because the author 100% loves writing it, exploring what they're putting in the story, etc.

Parodies are almost always written with the former motivation, with the audience reaction being centrally focused. A parody writer envisions their audience picking out their clever jokes and laughing along with their insights. Jokes aren't generally made purely for the joy of telling them, but for the laugh they receive in response.

I think My Immortal reads like something firmly from the latter category; a young teenage girl gleefully enjoying writing everything currently appealing to her - looking hot in rad outfits, going to cool concerts, hunky boys kissing her (and maybe… each other??? 😳) and generally dealing with the trials and tribulations of being the center of the universe. Fanfic is exactly the place to indulge that impulse, and I hope she had a great time writing it. And maybe indulged in a spellchecker eventually.

[arnebicc]

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[chinesehanfu]

[Hanfu · 漢服]Chinese Warring States period(475–221 BC) Traditional Clothing Hanfu-Life of Qu Yuan(屈原）

【Historical Artifact Reference】:

China Warring States period (475-221 BC):Silk painting depicting a man riding a dragon (人物御龍帛畫)

it was discovered in the Zidanku Tomb no. 1 in Changsha, Hunan Province in 1973. Now in the Hunan Museum

A man with a sword is riding a dragon by holding the rein. The dragon's body was given the shape of a boat. A little egret is standing at the tail of the dragon. A carp under the dragon is leading the way. The umbrella in the top middle of the picture shows the owner's nobility. The work has become associated with the Chu poet Qu Yuan’s famous verse from his poem Shejiang (涉江, Setting foot in the river), ‘Carrying a long sword with weird colour; Wearing a qieyun–styled high cap.” (帶長鋏之陸離兮, 冠切雲之崔嵬)

Western Zhou Dynasty seven-huang jade pendant with linked beads/西周七璜联珠组玉佩

About Qu Yuan(屈原）

Qu Yuan (c. 340 BC – 278 BC)was a Chinese poet and aristocrat in the State of Chu during the Warring States period. He is known for his patriotism and contributions to classical poetry and verses, especially through the poems of the Chu Ci anthology (also known as The Songs of the South or Songs of Chu): a volume of poems attributed to or considered to be inspired by his verse writing. Together with the Shi Jing, the Chu Ci is one of the two greatest collections of ancient Chinese verse. He is also remembered in connection to the supposed origin of the Dragon Boat Festival.

Historical details about Qu Yuan's life are few, and his authorship of many Chu Ci poems has been questioned at length.[4] However, he is widely accepted to have written "The Lament," a Chu Ci poem. The first known reference to Qu Yuan appears in a poem written in 174 BC by Jia Yi, an official from Luoyang who was slandered by jealous officials and banished to Changsha by Emperor Wen of Han. While traveling, he wrote a poem describing the similar fate of a previous "Qu Yuan."Eighty years later, the first known biography of Qu Yuan's life appeared in Han dynasty historian Sima Qian's Records of the Grand Historian, though it contains a number of contradictory details.

Life of Qu Yuan(屈原）

The only surviving source of information on Qu Yuan's life is Sima Qian's biography of him in Records of the Grand Historian (Shiji), although the biography is circumstantial and probably influenced greatly by Sima's own identification with Qu.Sima wrote that Qu was a member of the Chu royal clan and served as an official under King Huai of Chu (reigned 328–299 BC).

During the early days of King Huai's reign, Qu Yuan was serving the State of Chu as its Left Minister. However, King Huai exiled Qu Yuan to the region north of the Han River, because corrupt ministers slandered him and influenced the king.Eventually, Qu Yuan was reinstated and sent on a diplomatic mission to the State of Qi. He tried to resume relations between Chu and Qi, which King Huai had broken under the false pretense of King Hui of Qin to cede territory near Shangyu.

During King Qingxiang's reign, Prime Minister Zilan slandered Qu Yuan.[9] This caused Qu Yuan's exile to the regions south of the Yangtze River. It is said that Qu Yuan returned first to his home town. In his exile, he spent much of this time collecting legends and rearranging folk odes while traveling the countryside. Furthermore, he wrote some of the greatest poetry in Chinese literature and expressed deep concerns about his state. According to legend, his anxiety brought him to an increasingly troubled state of health. During his depression, he would often take walks near a certain well to look upon his thin and gaunt reflection in the water. This well became known as the "Face Reflection Well." On a hillside in Xiangluping (at present-day Zigui County, Hubei Province), there is a well that is considered to be the original well from the time of Qu Yuan.

In 278 BC, learning of the capture of his country's capital, Ying, by General Bai Qi of the state of Qin, Qu Yuan is said to have collected folktales and written the lengthy poem of lamentation called "Lament for Ying". Eventually, he committed suicide by wading into the Miluo River in today's Hunan Province while holding a rock. The reason why he took his life remained controversial and was argued by Chinese scholars for centuries. Typical explanations including martyrdom for his deeply beloved but falling motherland, which was suggested by the philosopher Zhu Xi of the Song dynasty, or feeling extreme despair to the situation of the politics in Chu while his lifelong political dream would never be realized. But according to "Yu Fu," widely considered to be written by Qu himself or at least, a person who was very familiar with Qu, his suicide was an ultimate way to protect his innocence and life principles.[citation needed]

Qu Yuan is said to have expressed his love for the ruling monarch, King Huai of Chu, through several of this works, including "The Lament" and "Longing for Beauty".

Dragon Boat Festival/端午节

Popular legend has it that villagers carried their dumplings and boats to the middle of the river and desperately tried to save Qu Yuan after he immersed himself in the Miluo but were too late to do so. However, in order to keep fish and evil spirits away from his body, they beat drums and splashed the water with their paddles, and they also threw rice into the water both as a food offering to Qu Yuan's spirit and also to distract the fish away from his body. However, the legend continues, that late one night, the spirit of Qu Yuan appeared before his friends and told them that he died because he had taken himself under the river. Then, he asked his friends to wrap their rice into three-cornered silk packages to ward off the dragon.

These packages became a traditional food known as zongzi, although the lumps of rice are now wrapped in leaves instead of silk. The act of racing to search for his body in boats gradually became the cultural tradition of dragon boat racing, held on the anniversary of his death every year. Today, people still eat zongzi and participate in dragon boat races to commemorate Qu Yuan's sacrifice on the fifth day of the fifth month of the traditional lunisolar Chinese calendar.

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Recreation Work by : @晴南

Xiaohongshu🔗：http://xhslink.com/CU2x9J

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[thequeensthroat]

the gag is I am actively harming my overall argument by litigating the authorship of the valiant welshman, which is, again, a very bad play, but I can't help it! I cannot let certain scholars' blithe assertion that just because robert armin did a welsh accent in one play (the two maids of more-clacke, an extraordinarily bad play) he must have played every welsh role on the early modern english stage stand without comment. and to be honest I even feel like, probably robert armin did write the valiant welshman because how many "R. A."s could possibly have been writing bad plays in the same city at the same time but we don't actually know and i won't let us pretend we do even when it would be better for my chapter if i did

350 word digression about whether or not the clown who wrote the very bad play this chapter is about also wrote another very bad play that is not relevant to my chapter at all? no problem!

[poppyflavour]

some little things i noticed in yours designs of stickmans (i hope the quality of the pictures has not deteriorated)

also, in the post with the designs, you wrote that you have a lot more that you want to depict and ohhhhhh, I really look forward to when you have the time and energy to do it!!

and small question: is it possible to use them in our drawings (indicating your authorship of the designs)?

Oh boy I hope it's readable-

THE FACT THAT YOU TOOK YOUR TIME TO DO THIS IS SO!! AA!! lackofwords.exe

I got this in my inbox and I just kept reading through it and kicking my feet o(≧∀≦)o Like this is so nice of you 😭😭 I almost wanted to not answer it and cherish it forever

I tried to adress each of your notes (I failed to do the one with Mango and Purple's hair similarities but that's partially because what I had to say wasn't really about neither Purple or King in particular and I just was really tired) and explain or add onto them, so I hope you'll enjoy this!

And yeah you can use my desings, but credit and also tag me because I want to see your artwork! <3