#definite article adjective endings

[deutschhaven]

Declension Of Adjectives In German

The most interesting thing about German Adjectives isn’t just that they are voluminous but that they may also be declined which in turn makes them complex irrespective of their forms i.e whether they are basic, comparative and superlative Adjectives or those that are derived from either Partizip I or Partizip II. This declension of German Adjectives usually follows a definite pattern which has…

[useless-catalanfacts]

Hola!

I know that inclusive grammar is oftentimes not set in stones.

From quick research, I understand that “elli” is one suggested gender neutral pronoun in Català. Is there an accepted inclusive definite article like “el,” “la,” outside of the confusing to speak suggestions with “x”.

It is an earnest ask as I don’t see any info online in the places I am looking.

Thank you in advance and thank you for sharing your knowledge on Catalan culture.

Hello! Thank you :D

Yes, there is. Every word (determinants, adjectives, nouns, pronouns, etc) are turned into non-binary grammatical gender by taking the feminine version and changing the gender marker -a for -i (in the case of singular) or -es for -is (in the case of plurals). Thus, the article is "li" (singular) or "lis" (plural).

I would also like to clear up a couple of minor things from the ask, I'll add the whole answer under a cut because it's a bit long.

You mentioned an "accepted" article. Accepted by who? Do you mean widely accepted by speakers, or accepted by the official institutions that regulate the standard and make dictionaries? Because those are very different questions.

Being used and understood by speakers comes first, and only after it is widespread do the academies incorporate it in their standards, dictionaries and lists. A dictionary is never a place to propose new words, only to compile the ones already part of the language. That's why academies that make dictionaries and regulate the standard, regardless of how much they want to, just can't add new things so quickly, they must wait to see if a trend really ends up becoming part of the language of if it's a short-lived trend that leaves and never takes root.

The third grammatical gender is still a recent proposal which many speakers haven't heard of, don't know how to use and don't understand (in fact, they would understand a different thing if they heard it*). For this reason, it's too soon to talk about being included by language academies. But yes, the -i ending (including elli) is the most used and most widely accepted proposal of third grammatical gender.

*replacing the vowels for the vowel "i" has always been used as a way to ridiculize a sentence, way before the -i got proposed for a non-binary grammatical gender, so people who are not familiar with this new proposal will likely interpret it as a joke.

So from now on I will answer assuming we mean what is the most widely used or socially accepted (which is what I assume you meant anyway), because as we've established it's too early to talk about being or not being accepted by official academies.

2. We are talking about third grammatical gender or non-binary grammatical gender, not gender-neutral.

In English, the singular "they" is used as a gender-neutral pronoun when we don't know the gender of the person we're talking about, but Catalan and most other Romance languages don't have this. The idea that has been proposed is a new, third grammatical gender which is neither male nor female. This third grammatical gender is used by non-binary people who prefer to use neither male nor female. But if it were gender-neutral we would use it to talk about people who aren't non-binary or for mixed grammatical genders (remember that grammatical gender does not equal human gender, the word is only a coincidence and in many cases it could be better translated as "type", "class" or "genre"), for example "there they are, the dishes and the mugs" = "allà els tenim, els plats i les tasses". We use the unmarked/masculine for that, but there's some people who also have other proposals but that's a whole other very, very long conversation.

Same goes for people, we don't use the third grammatical gender when we don't know someone's gender, unlike English this isn't part of our language. We simply tend to add the multiple options. Until now it was 2 (male and female), now it should be 3. In some other occasions, people might use the unmarked/masculine or write in reference to "person" (can be an elliptical construction that simply looks like a feminine sentence).

3. The -x.

You also mention the confusing -x. Luckily the -x is not commonly used here. It's not very useful because it's very online-only (it can't be pronounced, so it can never become part of the language more than just virtue-signaling in written form).

It's normal to have to try out different forms before finding out what will work, but we're lucky that this one never really took root because it will be easier to teach directly the new one (-i) to the broader public who isn't as invested in this.

That being said, going back to your question:

"Elli" is the personal neopronoun (equivalent to ell and ella), as you said, and the -i termination is the proposed new grammatical gender. It must be the -i because it's the only vowel in Catalan that isn't directly associated with one of the two other existing grammatical genders: -a is used for the singular feminine, -e is used for the plural feminine (as well as singular feminine in some accents), -o and -u are used for the plural unmarked/masculine. The singular unmarked/masculine grammatical gender in Catalan doesn't have an ending, so it can end in any letter (including -i). Thus, only -i is (most times) left, even though it's already used as an end in some pronouns (like "hi", meaning "there", "-li" meaning "to him" or "to her", etc). So the rule is this: for every gendered word (nouns, adjectives, pronouns, etc) just take the feminine form and in singular change the -a for -i, or in plural change the -es for -is.

The article would work the same way: li. For example:

♂️: El mestre és alt. Els mestres són alts.

♀️: La mestra és alta. Les mestres són altes.

Neo: Li mestri és alti. Lis mestris són altis.

If you want to know more details about this new proposal, there's a book called Guia gramatical de llenguatge no-binari that explains everything.

I hope this answers your question! And thank you very much for your interest.

[spanishskulduggery]

I forgot how long the game is because I'm still not there yet, but I am seeing a lot more gender neutral language in Dragon Age than I thought there would be even from side characters and NPCs

So far it's a lot of elle and using les which I don't know if I expected because I'm used to seeing les as the indirect object

In other words, definite articles are el, la, los, las... but for gender neutral people I'm seeing le and les which uses the gender neutral E

As an example someone mentioned les enemigues as "the (gender neutral) enemies"; I don't know if this is a quirk of the game but the non-binary characters tend to use the gender neutral E for all things, while the cis characters tend towards los/las etc but will use elle for non-binary people - in other words, the non-binary characters seem to treat every group as possibly being of indeterminate gender, while the cis characters use the standard rules (like los enemigos "the enemies" is considered standard; but it is masculine plural as a group of men or mixed gender) while being respectful of individuals

I don't know if it's a limitation of the translation, or an added sort of a quirk (like someone non-binary is maybe more aware of gendered language than others), but it's been interesting to see

There's also one character that is the "governor" and so their title is written as le gobernadore [le normally is indirect objects; here it's gender neutral definite article], and particularly interesting because I did wonder how it would work with titles/adjectives ending in -R

Though it does still trip me up every so often because it looks like French or Italian sometimes

I'll address it more with screenshots when I'm there because it is interesting and not something I learned in school so I can understand the rules intuitively but it's more of a recent language development

[markrosewater]

I just found out that "typal" is replacing tribal? Why? Whats wrong with the word tribal?

The word tribal actually meant two things. Tribal capitalized was a card type pe that allowed us to put creature types on noncreature cards. Uncapitalized tribal is a design term meaning “creature type matters” as a theme. The fact that both meanings used the same word caused some confusion (as longtime Blogatog readers know).

We have cultural consultants we work with, and they communicated that there are groups that were upset our use of the word “tribal”, and asked if we could change it.

As long as we were changing the word, why not correct the problem of confusions of definition. Tribal, the card type, became Kindred. Tribal, the design adjective ended up becoming “typal” (an actual word most people don’t know).

It’s a word we use constantly in designing Magic that gets used a bit when people talk about design themes, so we picked a word that was close in structure so we could keep using it as we have. Typal was originally a placeholder word that just worked so well, we kept it.

I will stress these are the words R&D is using for these two concepts. You are free to use whatever words you like. We’re not trying to change other people’s language. I’m just explaining the terms for you all to understand them, so you get what we’re saying in articles, panels, and on this blog.

[mask131]

The myth of Apollo (4)

As with Dionysos previously (see here), the Dictionnary of Literary Myths of Pierre Brunel offers two different articles about Apollo. Here is the loose (but free !) translation of the second one, « Apollon, the mythical sun ».

APOLLO, THE MYTHICAL SUN

Pontus of Tyard wrote in 1552: “Of all the poetic gods, Apollo is the one that has been the most disguised by the fables and the etymologies of his name.” The mythical figure of Apollo, which has been turned in Western literature as one of the most conventional figures there can be, was considered by ancient mythographers as an extremely complex character, because he was given many names and many properties. Apollo is first and foremost an universal archetype of the Divine, of which literature kept – alternatively as much as indiscriminately – three main names: Apollo(n), Phoebus, Sun. The chronological evolution of the god allows us to isolate and separate the solar god (as a symbol) from his mythological adventures, since the solar Apollo is more present within poetry than within legends.

I/ The names of the Sun

In the Platonic tradition, all the way to the end of the Renaissance, numerous significant and diverse etymologies were invented for Apollo, all reflecting the various functions of the solar god. Within the name Apollo(n), interprets can read as much an idea of destruction as an idea of freeing (from the verb “luô”, to untie) or purification (from the verb “louô”, to clean). This reflects the “drying” effects of the sun, which can be negative or positive – and thus is a survival of the ambiguity of the archaic god.

The interpretations found within the “Cratylus” (see the previous part of “The myth of Apollo”, “The Antique Apollo) allow us to define the four main attributes of the god: medicine, divination (both seen as manifestations of “purification”), music and the art of shooting with a bow. The name Phoebus has been associated by Isidor of Sevilla with the endless youth of the ephebe (e-phoebus), while Cartari (in 1556) linked it to the vital light (phôs, light, bios, vie). For Platon, the name of “Sun” within Ancient Greek meant he who “nuances” the colors (“helios”, the sun in Greek, derived from “aïoleïn”, to nuance) ; and all the ulterior commentators assimilated it with the Latin “Sol”, tied to the adjective “Solus” (the sole, the unique, the lonely), a link which can be found in the neo-Latin languages (in French “soleil” and “seul”, for example). Cartari, who was follow the works of Plotin and Macrobe, linked this precise etymology to the Greek name of Apollo that he translated as “he who is not multiple” (“a” as a privative + “polu”, many) – highlighting again the important idea of unity within the idea of the sun-god.

II/ Main attributes

The mythographers of Renaissance made a very useful synthesis work that offers us in their roughly definitive state the various interpretations of the myth of Apollo, compiling together the commentaries from Antiquity, the interpretations from the Middle-Ages, as well as the point of view of some Oriental civilizations. Within his “Images of the Gods” (1556), Cartari divides the solar myth in a series of elements linked together as part of a long allegorical chain:

1) The sun represents at first, in the diversity and universality of its effects, an archetype of the Divinity. The Assyrians assimilated it to Jupiter as the soul of the world (because through all the other gods, it was always him who was evoked). As such Macrobe noted in his “Saturnals” that all theology always returned to the worship of the sun.

2) As a symbol of eternal youth, as the allegory of the always-new day, of the always-resurrecting light, Apollo is depicted as beardless (except for the Assyrians) and is associated with Dionysos.

3) Because of its central position within the Universe, it is called “heart of the heaven”, by analogy with the vital function of this “pulsing” organ within the human body. The sun is the source of light that communicates their movements to the other astral bodies. It is why Apollo is sitting in the middle of the nine Muses, allegories of the nine celestial sepheres, and with them he embodies the Harmony and the Universe, as a symbol of “symmetry and concordance” (according to Tyard). As such the Music of the Spheres, that R. Lulle will represent through the “Great Lyre of the Universe”, is reflected in Apollon’s association with Music and Poetry (Poetry which was originally simply the art of singing).

4) The rays of the sun are depicted by the arrows of Apollo (just like by those of his sister Diana). They can penetrate the very core of the earth – it is why there is an archaic tradition according to which Apollo is a chthonian or infernal god (and can sometimes be called Hecate, since the primitive gods were without genders).

5) It is due to the purgative and drying effects of his rays that Apollo is also the god of medicine. Mythographers tie this function of the god to the fable of the snake Python killed by Apollo soon after his birth: they assimilated Python to the mythical Flood, as a principal of morbid humidity wrapped around the earth.

6) The attribution of the laurel to Apollo, and the fable of Daphne, are explained by the medicinal virtue of the plant, the always-green plant that never rots, and that the mythographers saw as a symbol of Health. The laurel is also tied to the alchemical symbolism of Humidity, because Daphne was metamorphosed thanks to the intervention of her father, a river-god.

7) Finally, Apollo is the god of divination, because he is the eye of the sky, he sees all and he reveals all secrets (hence why in mythology Apollo was the one who denounced the adulterine love of Venus and Mars). He has the role, within the Universe, of the eye within the human body – he is the “spy of the intellect”, the “censor” or the “rector”, and his eminent position makes him a sign of omnipotence. Cartari described a hieroglyph that designated the sun as a scepter surmounted by an eye – which would identify the mythical sun with the idea of royalty.

Such a synthesis – within which each of the god’s main attributes were defined and linked together – as the interpretative model which was used as a basis for all ulterior poetry. For example take Du Bartas: in his “Sepmaine ou Création du Monde », in 1578, the sun, which is not a god anymore but a mere « ornament of the sky », is always designated by metonymy through a series of names that resume all the attributes of the solar god in his cosmic function: Phoebus with gold hair, the blond Titan, the Torch of Laton, the Archer, Apollo giver-of-souls, the Fountain of Heat, the Life of the Universe, Giver-of-honors, King of the Sky, Eye of the Day, Censor, Torch of Delph, Torch of Delos, he who “makes the face of the world young again”. In a parallel way, from Cartari’s work, the different aspects of the character will be slowly simplified until he simply becomes the god of Poetry, crowned with both sunrays and laurel leaves, sitting among the Muses on top of mount Parnassus, always holding his lyre (which can sometimes represent him in his entirety), distilling the poetic inspiration under the shape of the Hippocrene spring (created from Pegasus’ hoof), a spring that Ronsard will describe as “the fountain of verses”.

III/ The philosophical Sun

Symbol of the Philosophical Gold in the alchemical tradition, uniting the fundamental opposites that are the fire and the water, the dry and the wet ; or a symbol of the divine creative soul within Orphism and Pythagorism, the go of Poetry s the very image of all creation within the Neoplatonic literature, in which Apollo with his lyre is always associated to his “mortal double”, Orpheus. Within the Renaissance, Apollo was the god who inspired the “Poetic Fury”, without which the lyrical production cannot be: it is under his influence that (according to Ronsard’s Hymn to Autumn) the spirit can “penetrate the secret of the heavens” and the soul “rise among the gods”. It is under the sign of Apollo that the soul finds back its celestial origin through the effects of the divine enthusiasm (from the Greek “theos”, god): this is the Orphic origin of poetry. For Ronsard and the poets of La Pléiade, the “inspired Poet” is both the “prophet” and the “priest” of Apollo (hence why in the 16th century it was believed that the Sibyls and the oracles were exceptional poets).

This Neoplatonic interpretation of the myth, which confuses the two main attributes of the god, prediction and lyrical art, this same tradition that shaped the image of Apollo we have today, relies on the commentary by Marsile Ficin of “The Symposium”, which divines four different divine “furies”, associated with four patron-deities. First is the highest, the poetic fury, which is caused by the Muses ; second is the “mystery fury” or the sacerdotal fury, which proceeds from Dionysos  ; third is the prophetic fury, given by Apollo ; fourth is love, and it originates from Venus. Despite the distinction marked within this text between the Muses and Apollo, poets usually invoke indifferently one or the other – the god understood as the “universal principle” and the Muses as allegories that represent the individual repartitions of the poetic virtues. It should be noted that within the Neoplatonic context, Apollo is not opposed to Dionysos – rather their functions are complementary. The god of divination, who is also the god of the penetration of divine secrets, forms a couple with the god who initiates humans to the divine Mysteries ; it is to the point that they are called “brothers” by Pontus of Tyard, who explains the epithet of “Delphic Apollo” by a fake etymology “adelphos”, “brother”, for the “fraternity considered between Denys (Dionysos) and Apollo”.

For the Neoplatonicians, if Apollo is one of the poles of the duality of the world, he is rather opposed as the One, as the universal principle, to Diana, who embodies Nature – that is to say the Multiple. According to the Platonic idea taken back by Giordano Bruno in “Eroici Furori” (1585), the Nature (Diane) is the mirror of the God (Apollo). Apollo is the absolute light whose essence must be hidden, who blinds and kills those that see it directly, and thus he can only be perceived through his reflection. A variation of this idea, developed by Léon Hébreu in 1535) made Apollo the “simulacrum of the divine Intellect”, while the Moon was the “simulacrum of the soul of the World” and acted as an intermediary between the divine plane (the intelligible world) and the corporal plane (the sensible world). This conception has been very influential in term of literary posterity, because it means in a very explicit way, that the sight is a sense that must be valorized: the sensitive vision, the one of the eye, is to be identified with the intellectual vision, the one that allows thanks to the spirituality of the light to distinguish the beautiful from the ugly and the good from the evil. The supremacy of the eye above all other senses will be abundantly developed, in poetic and metaphorical ways, from the 16th to the 17th centuries. Even within the anatomical descriptions of the baroque poets, the eye appears as an intermediary between the sensible and intelligible world, as a double of the Sun, whose light shines upon the minds as much as upon the bodies.

[ranahan]

Sexism in Mando’a, take two: misandry

We’ve talked before about sexism in the canon Mando’a corpus—particularly misogyny, e.g. words like dalab ‘sheath, scabbard’, or sayings like Ke barjurir gar'ade, jagyc'ade kot'la a dalyc'ade kotla'shya ‘raise your children, sons strong but daughters stronger’.

But I don’t think I’ve seen misandry covered yet.

jagyc (adj): male (can also mean macho in context)

ori’jagyc (adj): bullying; also bully, swaggering big-mouth - someone who picks on someone smaller

That is, these two definitions equate masculinity with toxic masculinity (or toxic behaviour in general). Male = macho = masculine in an overly aggressive or unpleasant way. Very male = bully; and what’s more, a bully with a fragile ego.

And. Ugh. That’s a step above equating women with scabbards, but that’s a bar so low that going above it is not a compliment.

Are you really telling me that this is what mando men are like? So much so that the word “manly” also means “macho”? And not just to outsiders (many of whom probably find mandos of all genders overly assertive/aggressive), but to Mandalorians themselves? Come on, now. That’s just the tired old “testosterone = bad” argument (no, testosterone does not make men angry or aggressive any more than oestrogen makes women emotional and hysterical).

Outside of the GFFA, this is not something I personally want to propagate. It’s not a message I want to send to young men who are into military science fiction. That being manly means being toxic, that your gender and identity are just the bad things associated with them. Where does that message leave you? Where’s the call to action, to do better than the previous generations? Where are any of the number of masculine virtues or role models to strive for or to imitate? No—that message just leaves you with the message of “you = bad”, because it’s not like any of us can (or should) change our gender identities, which are core parts of ourselves. No boy wants to be a bully when they grow up, but some don’t have any better role models of how to be a man.

So. Let’s do better! Here are some options:

jagyc (adj): male

That is, just remove the part inside the parenthesis (“can also mean macho in context”).

ori’adyc (adj): bullying; also bully, swaggering big-mouth - someone who picks on someone smaller

Lit. “big guy” or “big child”, basically a gender neutral equivalent of the original.

Here are two words from @booklindworm:

orikaanii (n): bully - lit. big fighter /sarcasm

orikaanyc (adj): bullying

Leaning on the sarcasm here: “aren’t you a big fighter, picking on someone smaller than you?”

And from the MandoCreator Language Team (“pretentious”) & Aay’han community (“royal (sarcastic)”):

aloryc: pretentious; royal (sarcastic)

That is, someone putting on big airs, making themselves more important than they really are, and demanding more respect than they have earned. “Royal” is kind of an odd choice of words in English, but I guess what they’re aiming at is “putting on undeserved airs” (i.e. pretentious) or royal in the sense of “a royal pain in the ass” (lit. “leading” or “chiefly” pain in the ass).

I was originally not a big fan of this word, because what’s the neutral adjective from alor, then? But I ended up just deriving it from the root *al- > alyc or ala to avoid possible confusion, and I think that works fine. I’ve come ‘round to it.

ori’shya te buy’ce: too big for their boots, lit. bigger than their helmet

A swaggering big-mouth. You could also say “ori’shya kaysh buy’ce”, but I think the definitive article te does the same job in context, and you avoid repeating the same word (“kaysh ori’shya te buy’ce” instead of “kaysh ori’shya kaysh buy’ce”). Aesthetic choice, really. It’s easier to say in my mouth, at least.

[blokkan-conlang]

hello. remember me?

so ive been away a long time. i started this blog before i started university and now im about to get my bachelor's in linguistics. now that ive reached the end of my course, i know so much more about linguistic theory and structures than when i started and my mind is overflowing with ideas. now that i have a bunch more free time, ive decided to start work on this project again, and that includes pretty much starting this blog fresh and redoing the entire language (not like i had much to begin with anyway) except for some words that have stuck.

some ideas and plans i have at the moment:

im renaming the language, havent decided what though. ive also redone with phonetic inventory

i want the language to feel block-buildy to reflect the nature of minecraft. therefore this language will be highly agglutinative (many morphemes per word) and will contain complex predication

there's 16 light verbs that will combine with ~32-64 coverbs (havent decided how many), resulting in a total of 512-1024 predicating elements

light verbs will contain tense prefixes as well as the subject suffix

coverbs with contain aspectual/modal prefixes as well as the object suffix

im planning on figuring out if i can have no adjectives in this language, because why not. adjectives will instead be expressed by be/have + [noun], e.g. "happy" = "have happiness". i havent fully decided yet though

there will be a rudimentary noun class system. animate (human/non-human), inanimate (wood, sand, stone, plant, water) and abstract. i havent fully fleshed this out just yet but it may be some kind of definite article situation.

there will be final-consonant mutation depending on the proceding phone -- inspired by the same process which occurs in the bretonic and celtic languages

pronouns are expressed as a clitic that occur as a suffix on verbs (how they will be conjugated), prepositions (to express "to me" or "for me", etc) and directional words ("toward me", away from me", etc). maybe more if i can find more room for them

a proprietive morpheme that will express "with" (much like an instrumental case) and a privative morpheme (without). this will also function like an archaic locative morpheme. e.g. "a bird is in the tree" will be something like "tree.PROP bird exist=3P.SG.ANIM"

anyway, thats what ive been thinking about for the past week. hope youre all well :]

[accio-victuuri]

From this article about One & Only “The "easter eggs" that are not on the screen of "One and Only" are here”

Recently, Entertainment Studio talked to "One and Only" director Dapeng and starring Huang Bo, and shared the stories behind the scenes of 10 movies with everyone here.

"Passionate" is an adjective that is aptly used to describe the newly released movie "One and Only".

This movie focusing on street dance is dazzling, and the last 20 minutes of the national competition are especially hearty, making people's palms sweat;

Outside the shoot, every member of the "One and Only" crew is doing their best for the cause they love, and the soul of the group is burning. Dapeng took the main creator to run desperately across the country, dancing in amusement parks, singing at barbecue stalls, checking tickets in movie theaters, handing out posters in frog suits under the scorching sun, riding bicycles for publicity, taking trains for publicity, and promoting at scenic spots... Wang Yibo fell ill and returned to the team after only two days of rest to continue the roadshow. Like Chen Shuo in the film, everyone is desperate to give, just to get closer to their dreams, and their warm emotions are constantly transmitted to more audiences.

"One and Only" is a film project born under the trend of the times to break prejudice.

"After the release of "Sewing Machine Band", the business of many local piano shops began to improve, because there were many children who went to learn musical instruments. This "One and Only" also carries the blessing of the entire Chinese street dance circle, from the preparation stage to the end of the shooting, the street dance circle is looking forward to and blessing this movie, I believe that this movie will definitely usher in a peak of rapid development of Chinese street dance after its release. They may be children and parents, or they may be people who have been prejudiced against street dance, but they will all fall in love with street dance and the people in the story. Dapeng said.

The best candidate for Bboy

In order to understand the real street dance culture, Dapeng did a lot of homework.

He watched street dance movies all over the world, and interviewed a large number of street dancers of different ages in various cities across the country, from three to forty and fifty years old. In April 2021, during the preparation of "One and Only" and before the start of "Keep You Safe", Dapeng asked all the Bboys he knew the same question-

"If I'm looking for someone to play Bboy, he has to be a well-known actor, he has to be able to act and dance at the same time, and his temperament can be recognized by the Bboy community, who should I go to?"

Dapeng got a unified answer, Wang Yibo.

At that time, Dapeng did not know Wang Yibo, he did not even have a script, and he met Yibo nervously through the brokerage company. In order to prevent his expression from being in place, Dapeng also wrote a letter in advance and handed it to Yibo.

Later, Dapeng received a reply from Wang Yibo and wrote a lot of words. Wang Yibo said that he is very happy to be invited to play this role, street dance and movies are his passion, so doing this thing is a superposition of love. He agreed to star in "One and Only".

With a specific object, the film began to enter a stage of rapid progress. Screenwriter Su Biao printed a photo of Wang Yibo and pasted it above the table, looked at his photo every day, and began to write the script.

The script grows from the double BO

The earliest "One and Only" stories tried different directions. At the beginning, the main line is the relationship between mother and son, about how a mother raises her children, and the "exclamation point" is actually derived from a plot in the early version of the script. When Chen Shuo was young, his mother took him to choose his favorite extracurricular class, and if he didn't learn well, he would put a cross or question mark, and only the street dance chosen by Xiao Chen Shuo himself was given an exclamation point. The exclamation point became a small code word between mother and son, and Chen Shuo finally used it on the stage of the national competition.

In the process of the development of the script, they want to write how Chen Shuo is getting stronger and stronger, then he must have a good coach. The coach's line is getting fuller and fuller, and slowly becomes the protagonist.

At the same time, Dapeng they are going to start looking for actors. An OG who can dance, his acting skills are also brilliant, and the only thing Dapeng can think of is Huang Bo. He had shown every script to Huang Bo before, but he didn't find a suitable opportunity for cooperation, but he didn't expect that Huang Bo agreed very happily this time.

"Brother Bo told me that he could finish his last job within a time frame and have a whole block of time to shoot "One and Only", which scared me. Because it is not even a complete script, only the outline of the story. He seemed to have been waiting for the role, and the invitation process went smoothly beyond my own imagination. Dapeng said.

"So we have the double BO combination. We project our impression of them into the script, maybe you can see that there is a part of Huang Bo's shadow on the characters, and there is a growth trajectory of Yibo, that is because these two characters can be said to be tailored for Huang Bo and Yibo, and the story is grown from them.

This time is different from my previous creative path, I used to write one draft, two drafts and three drafts of the script, and even the punctuation marks I felt very satisfied with before I went to find an actor, but in the end it didn't work, and I acted by myself. "One and Only" was unexpectedly smooth, and it was the most efficient film I created. ”

Chen Shuo and his mother

In the final film, the line between Chen Shuo and his mother was compressed, but it was still the biggest crying point.

"The two of them are still a bit alike, did you feel it?" Dapeng laughed.

Liu Mintao and Wang Yibo each did their homework for the role, and the first rivalry scene they wanted to shoot was the scene where Chen Shuo rushed to the wedding scene to find that it was his mother singing on stage, and he couldn't help but burst into tears.

The crew spent a while to set up the studio scene for the filming of this scene, and ran in a group of extras. As soon as the shout began, Liu Mintao and Wang Yibo quickly entered the situation, and both of them shed tears from their hearts.

Dapeng in front of the monitor was a little confused - a scene that took so much effort to prepare, the result was so easy? He said it would be okay or ... Do it again? But in fact, the first take is used in the end. The two actors have done a lot of homework before this, and their understanding of the characters has been very thorough, realizing the "one take" of this heavy emotional scene.

Uncle's wax figure

Living with them in the film is Chen Shuo's uncle, played by the bald Yue Yunpeng, a character with few scenes but dense laughter.

Because her mother's surname is Du, the team came up with a somewhat nonsensical shop name called "Madame Tussauds Restaurant". There are a lot of wax figures in the store, and authorization is required to shoot wax figures, so the crew first considered Dapeng's friends, Jia Ling, Zhang Xiaofei, Yang Di, Li Xueqin, etc., and also thought of world-class celebrity images such as Monkey King, Einstein, Bruce Lee, and Tyson.

Yang Di not only has wax figures, but he himself also came to play a moving wax figure in a nightmare, which is scary and funny. Li Xueqin could have had a wax figure in the shape of a female ghost in "Keep You Safe", but because it was not sure which of "One and Only" or "Keep You Safe" would be on first, the audience might not get this meme, so they could only remove it first.

"With wax figures and a little bit of my own thinking in it. What kind of people are those who have wax figures, they are all successful people. But my uncle has been sculpting a wax figure of himself, and the closer to the end of the movie, the wax figure becomes more and more complete. If you have a belief in your heart, no matter how ordinary and ordinary people are, you can shape your appearance like your uncle. Dapeng said.

Huang Bo backflipped, Wang Yibo hit closed, and the crew rolled up

For movies dedicated to street dance, the dance part must be burning and fried enough, and it must be able to bring a strong visual and psychological impact to the audience.

Dapeng spent a long time researching how to make street dance look better, he organized a group of dancers to the studio to test shoot, try various equipment and mirror movement, and also hired a new editing director, Zhang Yibo, who had cut "Young You", to cut the dance part, because Zhang Yibo himself is also a dancer.

Most of the members of the exclamation point are real-life top dancers, each specializing in different dances. Between "let professional actors learn to dance" and "ask professional dancers to perform", he chose the latter in order to save the dance. But I didn't expect that the dancers' performances in the final film were also very good, because most of the time Dapeng let them "play themselves", eating the hot pot scene, everyone talked about why they wanted to dance, which is the true voice of the dancers themselves.

And the two leading actors, Huang Bo and Wang Yibo, both showed the highest professionalism and did their best to exceed the required dance moves. In the original script, there was no Ding Lei on the scene, but Huang Bo felt that since he came, it was difficult to jump again. Wang Yibo also strives to jump to perfection every time, and finally jumps with closure.

"Yibo and Brother Bo are very serious, so serious that I don't think it's necessary, for example, Brother Bo has a flip, in fact, you can do it with a stand-in, and you can't see it, but he must do it himself. Spirits can infect each other, there is a competitive atmosphere in the crew, you want to do a backflip by yourself, what should others do?

For the last street dance competition, we filmed at the Hangzhou Olympic Sports Center for 10 days, and the shooting intensity was very large. The movie is cut shot by shot, but the actors can't jump only part of it, the movements are coherent, so jumping over and over again is a test of everyone's physical endurance.

On the penultimate days of filming, they told me that Chen Shuo (Wang Yibo) had an uncomfortable ankle, but he didn't tell me that I only learned about it after several people. Although there was a team doctor on the scene every day, I told Yibo at that time that the movie is edited, and it doesn't matter if a certain time you dance is not so perfect, as long as a few moments are good, and then we can make up for it through other angles.

But he just has to be good from beginning to end, he is too demanding of himself. On the last day, he should have filmed the scene in a closed position.

In order to live up to his efforts, in the end, in the choice of editing, you can go to watch, I try my best to ensure that his performance is a complete camera, not cut. ”

An avid group performer

Dapeng used to watch many group performances in film and television dramas, such as a group of reporters mechanically pressing the camera shutter, and a group of wooden audiences under the concert stage, they would feel very dramatic. The main creator may pay more attention to the protagonist, and the supporting role is just a human flesh background board. This time filming "One and Only", Dapeng felt that the atmosphere creation of the competition scene was the top priority, and it was the key point for the audience to have a sense of presence and thus believe in the story.

No matter how big the scene, Dapeng requires every group audience in the audience to react with passion and commitment.

"Every day I try everything to liven up the atmosphere on the spot," Dapeng said, "The whole voice is dumb, if I can't do it, I will want my sister to go up, and if she can't do it, I will go up to others, and take turns to drive the atmosphere."

One day at 11 p.m., everyone started to get sleepy, and I felt as if the atmosphere was going to fall, so I rushed into the crowd myself. I said, look how I play an avid hip-hop audience. When you go to drive the atmosphere, everyone will be infected by you, and the atmosphere of the game can be more enthusiastic. ”

Dapeng, who did not star in his own movie for the first time, played a fanatical live audience, and he also set his "black photo" as a Weibo avatar

Prepare the last scene as if it were a movie

The last 20 minutes of the hip-hop competition were constantly reversed, and the climax was stacked, and wave after wave raised the atmosphere. How was this scene designed?

"We prepared the last scene as a movie. Although it is an action scene, it also takes on a lot of narrative functions, so that the game is always in suspense, there are constant reversals and accidents, and each round has ups and downs. Before filming this competition, our crew stopped work for a few days, and there were meetings every day, and various departments coordinated how to shoot this game.

Fortunately, we have the best dancers in China, the best dance consultants, the members of the coaching staff of the national team, and they give a lot of ideas. For example, someone was injured on the spot, how to persist with the injury, and impress the judges with spirit, such as the music suddenly stopped, the team's creativity..."

In the end, the exclamation point won satisfactory results with the comprehensive strength of the dance company, Chen Shuo's personal efforts, on-the-spot adaptability, team soul and creativity, etc., and I believe that it will definitely bring unexpected surprises to the audience.

Making a movie is very simple, it is a group of people who go all out for one thing

Chen Shuo in the play and Dapeng outside the play are both inspirational examples of struggle.

Recently, Dapeng turned out an old photo, which was a photo of his back with Wang Yibo at an event in Sina when he first stepped into the film industry nine years ago. At that time, he must not have imagined that one day they would collaborate on a movie.

In the ten days we filmed the National Street Dance Competition, every day burned to the fullest. About one day at the end of work, I found a room, and when there was no one, I cried there myself. It's not sad, it's reluctant to finish filming this scene. Even if this group of people gathers at another event in the future, it is not the feeling at this moment, and I miss the time I spent together. ”

"I thought later, maybe that's why I prefer to make movies. Life is hard, but making a movie is much simpler because it's simple, and everyone is desperately trying to give it their all for one thing.

Have you noticed that Yibo has become more smiling in this crew? Because that's what a twenty-four-five-year-old young man should look like, but he is Wang Yibo, and I know the pressure he faces, so in the crew, I try to make him find more security and trust. I believe that he was also very engaged and happy not to talk about the outcome of the final movie, but only about the summer they experienced together. ”

"This time I am also immersed in the directing work, I hope that this film can have a breakthrough in my career, because it is different, with such a powerful Bo Ge, Yibo, and such a group of the best Chinese dancers, everyone likes actors, I think it will become my best work so far." Dapeng said.

As the exclamation point recruitment slogan writes, "Keep working hard and you'll succeed!" This sentence is also true for each of the creators of Dapeng and "One and Only".

( Note : I removed some parts and paragraphs that focus more on DP and his past works. what is left here is about the movie, wyb and chen shuo. )

[sumerianlanguage]

Hello :) I would like to translate "the path of the shining light" (as in light from the sun/stars) for a writing project and I've come up with Kaskal Zalaga? Am I even close? 🫣 Thanks for your help, your blog has been an amazing source of knowledge!

Hello, and thanks for the kind words! Kaskal means something more like "journey" - for "path" I'd use ngiri, which also means "foot". You can definitely use zalag for "(shining) light", though there are many words for light in Sumerian. If you want more specificity, you can add the adjective shuba "shining" as well.

Putting these together, it'd be ngiri + zalag + shuba + genitive ending, in this case looking like ngirizalagshuba "path of shining light" (there are no articles like "the" in Sumerian). Without shuba it'd be ngirizalaga "path of (shining) light".

[virginreprise]

any writing tips? ♡︎ in love with all of it

first of all, thank you so much, honey!! i appreciate you takin the time to read <33

andddd, yes!! i do have tips!! or at least i'll try and compile tips in the best way i know how.

i think first, consider how long you've been writing for. don't be discouraged by comparing yourself to other people and immediatley thinking that your writing must be terrible because i do that alll the time and it can really harm your development as a writer. have faith that your passion shines through, even if your prose isn't at the level you wish it to be. as with everything, practice makes perfect.

second, i'd say that reading a lot definitely helps improve your writing. i study english lit and am always exposed to new styles of writing and i find that when you read a wide range of books or even newspaper articles, and reviews on your favourite albums or films, you can find different vocabulary you've never heard of before and slowly drip-feed it into your writing. don't use certain words in excess and sometimes its not always the best to use the most obscure adjective you can find in every sentence, but use them sparingly enough that people reading your work can find those new words too. i am a firm believer that you don't have to constantly read the most challenging classics you can find, though. just reading fanfiction is enough. it's still reading at the end of the day.

another tip is that i think it's beneficial to find a style. some authors are dialogue heavy and others are description heavy. it's the same in films - certain directors rely on their dialogue and others much prefer the wide landscape shots and are known more so for the cinematography. neither is bad and they can both be equally as effective. i know that i like my pretty metaphors. i know that i like psychoanalysing and building on the internal feelings of the characters. just find what flows most comfortably for you when you sit down and start typing.

i also just think that its important to enjoy yourself when you're writing. it can so easily become a chore, especially when you begin sharing across platforms, but don't force yourself to write just because you want to get it done and get it out. back when i had tumblr accounts before, i promised my followers i'd update every other saturday. then, when i slowly stopped becoming invested in the project, i would procrastinate writing any of it all week and then friday night and allll of saturday i would be sat at my computer writing thirteen thousand words just to appease the people. not only is that not healthy because i literally would not take breaks, its also insane??? like there was no need for all that. make sure you enjoy what you're doing and don't write for other people. you don't owe people online anything when it comes to fanfiction. its not like you're getting paid, you are doing this of your volition and sharing it because you want to. it is a privilege that they get to read your work!!

anyway, tldr version is that, practice makes perfect, read lots of books, find a writing style, and enjoy yourself!! write for you not other people!

that was very long-winded but i guess i like to cover as much ground as i can. anyway, i hope this helped and i hope your day has been great!! mwah <33

[charmwasjess]

3, 6 and 17 for the ask game!!

THANKS ANT THIS WAS SO FUN! :D And I'm still very much accepting writer asks if anyone else wants to send me one, or reblog the list and I'll send you something. <3

3 How do you feel about your current WIP

You know, I'm definitely in that phase of writing Rabbit Heart where I'm too close to it to tell if it's successful in what I'm trying to do, but I'm having a lot of fun with the fic, so that's probably a good indicator!

Dooku and Rael are a BLAST. It's also been eye-opening to write Dooku this young, unsure of himself, with so much to prove. Meanwhile, Rael is feeling just as clueless and lost, but it's coming out in totally different ways, with him trying to push Dooku into giving him the reaction he's dreading.

And then - Dooku and Sifo-Dyas. They're circling each other, boys in newly men-shaped bodies, still playing out the dysfunctional dynamic from their backwards-ass childhood with Lene Kostana. I have written a half dozen iterations of Sifo-Dyas quietly gayly pining for an oblivious Dooku, and this fic I wanted to do differently: I wanted Dooku to fall in love with his friend in real time. Dooku being the initiator, even if it seems clear Sifo-Dyas has loved him forever before this. And that's fun and weird, because I write Dooku as someone not always very in touch with himself in matters of the heart, so he's flailing a little bit, trying to understand why suddenly things have changed, trying to frame his feelings around what has happened to Sifo-Dyas in the larger plot and his reaction to it.

6 the word that appears the most in your current draft

Hah, unsurprisingly, "Dooku" followed by "Sifo-Dyas" and "Rael." Most everything else was articles.

17 talk about my writing and editing process

WILL I EVER :D My favorite!!!!

While I don't typically finish stories before I post them, I do tend to prewrite quite a lot before I feel comfortable starting to post any part of it. I write a lot more than I ever post, including whole scenes or alternate endings or different POV characters for a certain plot point than I end up going with. (And lets be honest, sex scenes, I write a TON more sex than I post because of garden variety horniness.) So I gush out all this content and then I have to decide what goes in, what gets scrapped, what gets saved and recycled for later.

I spend a lot of time rereading and narrowing down the content throughout the writing. But when I have the shape of a chapter that I'm pretty much ready to post, I pour myself a big glass of wine and get out my ruthless choppers. I KNOW I overwrite, so this is an important part of my process. I take out the third, unnecessary adjective that of course I've included. I try to kill any darlings that aren't serving the plot. I try to rein in my runaway adverbs, which are fine to use, but I like to have about twenty more of them than I need. I cut the rambling anecdote my characters love to think back on.

I take a hard look at my characters to make sure they feel true to my interpretation of their core qualities. This is usually the part where I fix Sifo-Dyas's lines, since he's often my problem child there. For example, recently in this stage, I changed his "I'm afraid of being left behind" to "I won't be left behind," which is more in line with one of my tenants of writing Sifo-Dyas: that he is defiant and dynamic about facing his own limitations, not ever static or despairing. (Where as Dooku, god love him, can absolutely be a brooder.)

[anonymouscommunous]

After making several images featuring my conlangs, I feel like I should actually explain what they are and how they work. So here’s a showcase of the one I made first, Arihuran (I’ll show off the others at a later date).

First, to explain the lore behind all of the languages. These languages are spoken in a world where cats evolved language comprehension sometime while being domesticated in the Middle East, adopting the language of their domesticators (Proto-Afro-Asiatic). Their version of PAA was different in that there were some sounds cats couldn’t pronounce, so sounds changed or were dropped (Proto-Cattic). As cats spread across the world, their language diverged into 4 separate languages (realistically it would be a lot more but 4 is all you’re getting from me).

Things the Cattic languages have in common (so I won’t have to repeat myself in the other showcases):

SOV word order

Adjectives before nouns

Adverbs before verbs

No definite article (except in Chattish)

No grammatical number

No case system

While yes these do make them very simple languages, I mean they’re cats, they’re simple creatures, compared to humans anyway (also I’m lazy). Now on to Arihuran specifically. Arihuran is spoken around the Mediterranean, primarily in the Middle East. Arihuran has had little to no real outside influence, yet it is very different from its proto language. It’s consonants are:

The first thing to notice is that there’s no labial consonants, this is because cats don’t have lips, so labial sounds wouldn’t be phonemic to them. What’s not because of their biology is the lack of alveolar plosives or fricatives. This is due to a sound change that shifted them further back into the mouth (explaning palatal /c/ and /ɟ/). Onto the vowels:

Again because cats don’t have lips, there are no rounded vowels. Arihuran has vowel length distinction (“hoor” /həːɹ/ (language) and “hor” /həɹ/ (fly)). /ɑ/ is an allophone of /a/ when before /ɹ/, which then becomes [ɑ˞] (“kkar” [kxɑ˞] (horn)). Similarly /əɹ/ becomes [ɚ] (so “hoor” and “hor” from before are actually pronounced [hɚː] and [hɚ] respectively).

All of the Cattic languages have a past-tense prefix and an action prefix, in Arihuran these are “sar-“ and “sa-“ respectively (“dä’ü” (walk), “sardä’ü” (walked), “sadä’ü” (walking)). There’s also the possessive prefix “i-“ that’s consistent across all the Cattic languages too (“su” (he), “isu” (his)).

As Arihuran is an Afro-Asiatic language it has cognates with other Afro-Asiatic languages, here are a few:

I’ll end this showcase with a sentence in Arihuran:

an ġîlloq ya sar sarya saräl, an kkarloq sarya saräl, syäg an añot häya saräl.

[I rabbit day ago yesterday PAST.see, I deer yesterday PAST.see, and I you today PAST.see]

“(The) day before yesterday I saw a rabbit, yesterday I saw a deer, and today I saw you.”

[perecreate]

Evil Does Not Exist: The Ambiguity of “Evilness”

How does one define the meaning of “evil”? It is not in the category of verb or noun. As an adjective word it is ambiguous to use, and forever subjective. Based on various experiences, the definition of “evil” is different and unique for every human being. Let’s pretend a person is robbing a bank because he has no money to aid his family. Some might say that this robber is “evil” because his act disrupts the balance of fair competition in the economy, and is rather violent. But some may say that the robber has a reason for his actions, therefore he is not necessarily evil, but neither is he kind. Evil Does Not Exist is a wave that pushes and encourages us to think relatively to the question of “evilness,” considering the world is not just black and white, but shades of gray. The director Ryusuke Hamaguchi does a perfect job at veiling the deep waters of Evil Does Not Exist. The atmosphere of the film can almost trick you into thinking that it is merely a simple story happening in a rural Japanese village. When the quiet, yet slightly unsettling, opening credit begins playing, it’s already difficult to escape the illusioned tenderness, and the ending is unexpected as if testing the depth of water with two human feet.

Thank you for reading this article

perecreate3.wordpress.com

[linguenuvolose]

Thinking a lot about definiteness. Is it incorrect to mark definiteness twice if the phrase contains two languages? Is it even preferable if the majority of the target audience speaks only one of the languages?

Ci vediamo al Kungliga Slottet*

Dov’è la Storkyrkan?

He works at the l’Académie française**

Una canzone dei Doors

*Here there’s also the interesting fact that a lot of Swedish places (=organizations/buildings I guess? Idk how to categorise them exactly) can drop the definite article “den/det” that is usually necessary together with the definiteness marker at the end of a noun when there’s an adjective. Like *”Jag läser röda boken” is incorrect (correct would be “Jag läser den röda boken” but “Jag pluggar på Tekniska Högskolan” almost sounds more definite to me than “Jag pluggar på den Tekniska Högskolan”. But maybe it’s because of the Stockholm context where the school is? Or it has become almost lexicalised as a single unit? Same with Svenska akademin, Ostindiska kompaniet etc.

** Does this feel like an acceptable sentence to you since the definite article is attached to the noun?

In all these examples the foreign unit is a specific name but another interesting aspect is more normal code switching.

Hai visto la låda?

Hai visto la lådan?

Har du sett la scatola?

Har du sett la scatolan?

Har du sett scatolan?

I imagine it’s rare in two languages who mark definiteness in the same way like I would guess “Have you seen the la scatola” would be an uncommon occurrence than the Swedish/Italian mixes.

Anyway!!! Very interesting and I’d love to learn more about this!

[acompassionatemonster]

I seriously think I’m speaking to a three year old because there’s no way you can be older than a toddler with how stupid you are. If you are older, please consider going back to school because you’re not gonna get far in life with your lack of common sense and underdeveloped brain. There is no way you can call me illiterate when you literally started your reply with, ‘not you’re mad’ and ended with ‘stay one that Jujutsu Kaisen season two’. And in your first reply you did get your ‘your’ and ‘you’re’ mixed up - you used ‘your’ when it should’ve been ‘you’re so scared’. Now please tell me if that made any sense. Take your head out of your ass and admit how much of an imbecile you are.

Love don’t worry about if I have a job or not, I know I am and will be fine but it’s you that you should be worried about right now. I don’t think you can get a job with your stupidity and illiteracy - no wonder why you read manga, bro just follows the pictures and ignores all the actual writing. Please do yourself and everyone else a favour and log off of Tumblr and every other social and pick up an actual book.

Oh come on now, don’t be a coward and avoid my question. I’ll stop bothering you when you either answer what media you are planning to consume soon or admit that you putting a Gojo spoiler without any spoiler warning and under a Toji tag was idiotic and insensitive (even though you strongly disagree - I’m sorry I didn’t know we had a new Joker over here- not that you have the IQ to be able to pull that off). I’m sorry that I’m the only honest person in your life to say you are insensitive. I bet you don’t even know what that word means given that your literacy and comprehension skills are very limited. So I’ll help you out a bit (because I doubt you can even spell it) and give you a definition, ‘insensitive’ (an adjective) - showing or feeling no concern for other’s feelings. A synonym would be ‘inconsiderate’. You can’t prove me wrong that those words don’t describe you. It was a big spoiler and I know it because you were probably crying over it and in your post you literally say you’re not ‘reading jjk anymore idc’ - therefore, you had no right in spoiling it for others, get that into your thick head and small fish brain.

I’m sorry I didn’t know you were a sheep and posting spoilers without warnings because, ‘literally everyone on here isn’t’. Are you that daft? Just because everyone isn’t, doesn’t mean it’s not wrong. Bro are you saying that if the purge happened and everyone was out wreaking havoc, you’d do the same thing and still say it’s not wrong? Are you a child that doesn’t know right from wrong? Please for the love of God, for your own future and safety, go back to school.

TLDR: stfu and tell me your opinion when you have a present dad x and sorry if this was too much writing for your bozo self to process mwah.

I think I'm speaking to someone who dropped out of school, like literally dropped out of school in the 7th grade. Because if YOU'RE SO SCARED OF SPOILERS WHY ARE YOU ON TUMBLR?? LIKE I FUCKING SAID YOU PEOPLE HAVE SERIOUS ISSUES. IF YOU DONT READ THE NEW CHAPTERS THEN THATS, ON WHO??? ITS ON YOU. and why are you harassing me about my spelling?? Bitch it's fucking Tumblr, I'm not writing a thesis, a research paper or even a fucking essay. If I wanted to write a whole fucking article and then yes I would make sure that my spellings of both 'your' and 'you're were correct. However IM NOT. AND IDGAF. So why tf would I care if I spelt something wrong or mixed a few words up???. You bitches are talentless, jobless, bored and can't fucking read nor write and still live with YOURE parents in their BASEMENT. AND WANNA COME AFTER ME BECAUSE YOU GOT SPOILED. BITCH I DONT CARE IF YOU DIDNT READ THE CHAPTER AND FOUND OUT GOJO IS DEAD!!!!! BECAUSE SOCIAL MEDIA HAS SPOILERS E V E R Y W H E R E. DONT COME ONLINE AND YOU WONT GET SPOLUED THEN YOU FUCKING ASSHAT. YOUR mother must have dropped your special ass on the head as a baby, because why are you at YOUR grown ass age GOING ON DIFFERENT PROFILES TO HARASS ME ABOUT A FICTIONAL FUCKING CHARACTER. I just fucking know you don't take baths OR EVEN WASH THAT FUCKING FILTHY ASS OF YOURS. it's fucking disgusting that YOUR Neanderthal ass came on here to give me a hard time because you what??? Can't keep up with the chapters when it releases??? Not my problem fucktard. And I'll tag my fucking posts with whatever I want. And I did answer your question, I said and I quote I don't care sweetie. So why don't you go to sleep and roll over on that cockroach infested ass floor mattress you sleep on every night. Roll over and go get caught up to the new chapters. Imagine trying to harass someone because YOU live in a section 8 apartment, with 15 other family members, have roaches and rats crawling all over you while you sleep and mad at me. NOBODY GIVES A FUCK ABOUT YOU!!! I'm just sure YOURE a fucking foster child whose mother and father left your Crack baby ass in foster care. Because there's no way that someone who had a loving, family or SUPPORT SYSTEM IS THIS BOTHERED. AND IF YOU'RE SO FUCKING BRAVE WHY WERE YOU POSTING ANONYMOUSLY??? GET A LIFE YOU SMALL BRAINED, LONELY, PATHETIC, NEANDERTHAL ASS BITCH. I HOPE YOU TOSS AND TURN ON THAT FLOOR MATTRESS YOU SHARE WITH YOU 8 SIBLINGS EVERY NIGHT.

and stop coming on my page, mad ass., stupid ass, MONKEY ASS BITCH.

[hatari-translations]

If you come across a new word and don’t have a dictionary to hand, is there any way to figure out how the word is declined, or do you just know it off the top of your head?

Assuming it's not a compound where I know the final component word (in which case it's always just going to decline like that final word), I'd just go by feeling. Generally going by feeling involves looking at the word and in particular at the end of the word, matching it to common declension patterns given the ending plus any context cues indicating the gender of the word and what form I'm currently looking at, and then declining it like whatever the most normal pattern that seems to match is. So for example, if I see a sentence like "Ég ætla að fara í gróbúl í kvöld", where the word "gróbúl" is unknown, I will notice that this is the accusative case (because of the preceding fara í) and match it to other words I know like pendúll (pendulum), which is pendúl in the accusative, figuring that probably it's a masculine word and the nominative is gróbúll. If I see "Það var mjög flott brýtingan á sýningunni", where "brýtingan" is an unknown word, I'll see that the adjective flott applied to it is the neuter or feminine form, so brýtingan has to be a neuter or feminine word; feminine words generally only end in -an if it's a definite article ending, but in this context in the sentence it would be indefinite. So it's probably neuter, and then probably it'd be declined like other neuter words that end in -an in the nominative, like "skran" or "plan", so it'd be brýtingani in the dative and brýtingans in the genitive. All of this happens kind of automatically in an instant, without exactly articulating that thought process; it just feels like how the word would work.

Sometimes, of course, this goes wrong! There are Icelandic words that have multiple possible genders, almost definitely originating as people hearing one form of the word, guessing the gender wrong and declining it like that gender, and then other people pick that up from them. One word famously like this that's common around Christmastime is "uppstúf(ur)" (a sort of béchamel sauce derivative traditionally served with smoked lamb and potatoes), which some people decline like a masculine word, uppstúfur/uppstúf/uppstúfi/uppstúfs, and others like a neuter word, uppstúf/uppstúf/uppstúfi/uppstúfs. Probably the neuter version is the original (it's derived from a Danish word, opstue), but at some point someone assumed it was a masculine word declined like stúfur. I grew up talking about it in the masculine and the neuter version still sounds weird to me. Another one is jógúrt (yogurt) which I grew up declining in the feminine, jógúrt/jógúrt/jógúrt/jógúrtar but others use in the neuter, jógúrt/jógúrt/jógúrti/jógúrts.