#essay research

[boycritter]

"you shouldnt use ai for schoolwork because its not actually helpful" this is true "and anyways if you cant even write a 600 word essay then you're stupid and an idiot" well now i think we've gone too far in the wrong direction.

[tossawary]

I just know in my heart of hearts that in "Star Trek" at one point, there was some moral panic somewhere on Vulcan (among the uppity sorts) because Human culture was "infecting" the local youth with their overly emotional, destructive, unproductive, frivolous, and uneducational ways.

And what was actually happening was that a bunch of Vulcan kids got really into 23rd-century "Minecraft" or something.

Small Vulcan child @ another Vulcan child: (in a tone that sounds flat to Humans but angry as hell to Vulcans) "You have compromised the optimization of my fortress. I am having an emotional urge to blow up your house... in Minecraft."

[twingocalypse]

I've been wanting to write an essay piece about disability fetishization in media (or like in general honestly) but it's so hard to look places for sources on this because most of them either only talk about visible disabilities or the more extreme versions? (i.e. the whole ''she won't run away in a wheelchair'' caretaker dependency thing or that one image of a quadruple amputee girl with the green ribbon that I keep seeing on twitter meme pages...) which is obviously still relevant but I specifically wanted to focus on the less obvious hints of this and more so the instances of this that make it into more mainstream media unnoticed or as part of different tropes. ://////

[jstor]

✨ New on the blog: If your heart is in the humanities, you may be discouraged in the face of other academic fields–but the humanities remain critical. Through a journey of loss, literature, and scholarly accounts, learn how the humanities are vital to human understanding. Read the blog post. Image: Charles Le Brun and William Hebert. A man whose profile expresses compassion. n.d. Wellcome Collection.

[bloggerspam]

A Christmas Carol AU

Inspired by a prompt found in the @haunting-heroes-creative-games :) (i.e. back on my shit again)

When a 15 year old Jason, pissed at Bruce for taking Robin away from him, finds his birth certificate he realizes Catherine Todd is not his real mother.

Just as he resolves to go out and search for his birth mother, Jason finds himself accosted by three ghosts in his room, talking about A Christmas Carol of all things.

===

"So, what? We're gonna Christmas Carol him?"

Dan scoffs, crossing his bulky arms with an unimpressed look. "We hated that movie."

"I didn't." Dani chirps, disturbingly cheery, "I didn't see it!"

"We hate Christmas," Danny corrects, "But the movie was alright, and the logic is sound."

"I don't hate Christmas," Dani once again interjects cheerily, "I've never participated!"

"Sound my ass," Dan growls over her, throwing his hands up. "We don't even know this guy!"

"Minor detail." Danny insists, "Tuck can look him up."

"He's a fucking Bat, Danny." Dan scrunches up his face, pinching the bridge of his nose just like Vlad does when he's disgruntled with any of Dad's shenanigans.

"He's a Robin, actually." Dani pipes in, "And he's just a kid. How hard is it gonna be to pretend to be this kid's Ghosts?"

"You're a kid," Dan reminds her, crossing his arms, "And you didn't believe me when I told you sticking a fork in the outlet would shock you."

"I believed you," Dani sniffs haughtily, crossing her arms and pointing her nose up with a snooty voice, "The warning simply did not deter me from doing it anyway."

"We don't have to convince him we're his Ghosts, or even that we knew him before," Danny reasons, needling, "We just have to convince him that we're…"

He hums, pointing at Dani. "Past."

He points at himself, "Present."

He points at Dan, "Future."

Dani does a little cheer, arms up and twirling into the air before landing with her legs over Dan's shoulders, hands and head settling atop Dan's fiery, but harmless, hair. It flickers, before going limp into long white strands that Dani messes up by gently scrunching up the strands and running her fingers through them.

Dan lets her, huffing and looking weirdly like a downtrodden, wet cat. "Why am I future?"

"Because." Danny doesn't continue, because he knows it makes Dan annoyed. True to form, his scowl gets worse, like sucking on a lemon. They all know why anyway.

Dani grins, triumphant and knowing, letting her voice go real deep, "The future," she intones into Dan's hair, "is here."

"The future is now," Danny corrects her, but doesn't lose his smile, floating up to tuck a strand of her hair back behind her ear.

"The future is already here," Dan mumbles his correction, or is it a follow-up? "It's just not evenly distributed."

"How about you distribute some of those muscles, Gibson," Danny sighs, shaking his head "Waiting for puberty is such a drag, and we both know you didn't get the mass from Vlad's side of the family."

Dan makes a moue of disgust, but it serves him right. The consequences of his own actions, and whatnot. He looks up at Dani, who simply shrugs. "I think you'll do great." She leans down to give him two pats on the arm.

"So how's acting out A Christmas Carol gonna help us stop this Jason guy from blowing up?" Dani fiddles with Dan's hair, tongue poking out as she attempts a braid, "Will he even see us? Ghosts in this dimension taste funny."

"He'll be able to see us, it's magically rich enough for some ghosts to maintain a semblance of themselves," Danny explains for the third time. Dani and Dan hum at different pitches, and even though Danny is the common denominator he kind of hates that Vlad has more of a lasting impression on them. "The ectoplasm here is scarce and mostly corrupted, though, so it's rare."

"So there's lotsa bad ghosts here?" Dani eyes the messy braid she's made, proud, even as Dan's silky hair immediately causes it to fall apart, "Or 'mentally unsound' or whatever Frostbite called it."

"No," Dan grumbles, annoyed and indulging all at once, "Corruption begets ecto-rot, but the scarcity means they're not strong enough to actually retain their sense of self enough to rot."

"Shades," Danny explains when Dani looks even more confused, "There's lots of shades."

"Is this one of the Olympian dimensions?" Dani groans, flopping over Dan's shoulder as he sits down on the sofa, "I love Pandora and all, but if I see Zeus again I'm gonna lose it."

"It's one of the hero dimensions," Danny hums, taking over braiding Dan's hair the way Jazz made him when they were little, "There's a couple of Amazons walking about, but on the whole no Olympians."

"I don't know why he didn't just dump me in a Norse dimension." Dan leans back and closes his eyes to their ministrations. "Especially with my current occupation."

The three of them are sitting in Dan's apartment, a large loft studio located somewhere in the UK of the aforementioned hero-dimension. Alber-something, Danny can't remember. Doesn't need to, it being a different dimension from his anyway.

Dan doesn't have a lot of things: a sofa and TV, a bed in the corner, a decent but small kitchen. They're still trying to figure out decorations, but Dan on the whole is a minimalist so it's been slow going.

He's working as a bartender these nights, whiling away his odd existence now that his form has stabilized.

And wasn't that a trip? Learning that hey, adult lightning halfas shouldn't really be mixed with teenage ice halfas, actually!

Apparently, ectoplasm can become corrupted if you try to combine incompatible sources.

Apparently, side effects include (but are not limited to) unmitigated violence and a devastating need for vengeance.

Sound familiar?

"This dimension has a lot of time continuity errors," Danny reminds him, "Dropping you here gave the least amount of pushback."

"Yeah, yeah," Dan flaps a lazy hand, "Praise be the speedforce and flashpoints and whatnot."

"Plus," Dani adds softly, absent-minded as she watches Danny finish up the braid, "Lotsa heroes to help out if you relapse."

Dan heaves a slow, controlled sigh. Danny and Dani both pretend they don't notice.

"Is it bad?" Dan doesn't open his eyes, his voice is so low Danny can only hear him by virtue of his ghost powers, "Like me levels bad?"

"No." Danny shakes his head, leaning into his older self, his older brother of sorts, "He decapitated eight crime lords, killed a couple of assassins, maybe an innocent or two depending on your definition of things."

"Past tense?" Dan scrunches his nose. They all hate how confusing Time Shenanigans are.

"He's living as Red Hood, right this very moment."

"Red Hood?" Dani questions, "That his hero name?"

"Crime lord alias." Danny corrects her, "But he's more of a vigilante these days. Has a bat on his chest and everything."

"But it's bad enough to warrant a trip to the past." Dan points out, "Bad enough for us to try and persuade him. Does he relapse?"

"Not…exactly." Danny scrunches his face, not wanting to explain Clockwork's ambiguity.

Dani floats to spread over Danny and Dan's laps, sprawling out and purring like a cat. Self-soothing, though it's more for their benefit than hers.

"Like Dani said, there’re lots of heroes here, and he doesn't have powers." Danny continues, petting at Dani's soft hair, "The world doesn't end. He doesn't have the means to, even with the ecto-rot."

Danny pauses, and chooses his words deliberately and carefully. "And deep down, Jason Todd is a hero through and through. Relapse would be…difficult. His Obsession is similar to yours."

Dan lets that sit for a moment, but nods, Danny moving a little with the motion. The tension slowly bleeds out as they wait like that, enjoying each other's company.

"If the world doesn't end," Dani whispers, "Why is Clockwork sending all of us?"

Danny thinks on that, on his meeting with Clockwork. The Ancient's voice when he explained what would happen.

He thinks about Jason Todd, about Bruce Wayne, and Catherine, and Sheila. He thinks about Batman, and Robin.

He thinks about Dick Grayson and Tim Drake, about Damian Al Ghul, about Cassandra Cain, and all of Jason's Outlaws.

He thinks about a tattered uniform that stays up in a glass case for a long, long time.

Most of all, he thinks about Dan.

He thinks about regrets and one bad day away.

And then he stops thinking about it, because sometimes the past is the past, and other times, it's the future that never happens that haunts you instead.

"You know, Dani." He settles on, "I'm not sure. He probably has his reasons."

Dan leans heavier onto him, and they lean together like that, with Dani in their laps.

Ghosts of decisions made, unmade, and never to be.

Follow the story on AO3 here!

[wanderinggoddess]

Arun, in Mughal Era dress

(i had fun researching the fashion history so im gonna include a bit of info under the cut for anyone interested!)

First, Armand is dressed more typically for the upper class or royalty, but I wanted to paint him all dolled up. This would have been somewhat typical dress for Mughal Empire (roughly the 16th-18th centuries) royalty. Men of all classes would typically wear the Jama (the overcoat). I depicted this one as made of Dhaka Muslin, one of the finest and rarest fabrics produced from the Dhaka region. The technique has since been lost, but at the time was incredibly sought after. So much so that during the British colonizers would take the artisans and materials and force them into reproducing the fabric for little to know compensation. Dhaka Muslin was so fine that it was practically transparent, and was worn by members of the upperclass across the world. I read somewhere that it was used to dress statues of greek goddesses. Another little detail is that Armand's Jama is fastened to the right, typical of a Muslim man, rather than to the left (a Hindu man).

I based this loosely off of Caravaggio's Bachus and Depictions of Prince Salim.

All the info I got was from these three youtube videos, so it's not like any serious research!

[lottiestudying]

17.03.2025—lazed around all afternoon, now to get back to some study

[amphibianaday]

day 1421

[literaryvein-reblogs]

Writing Notes: The Rhetorical Triangle

Rhetorical Triangle - a simple, useful tool that can help you develop a strong and well thought-out essay, especially in persuasive writing and speeches.

Each side of the triangle represents one of the three classical rhetorical approaches used to build informative, persuasive arguments that influence audiences in specific, powerful ways.

There are many visual representations of the Rhetorical Triangle available online, such as the following:

The 3 Classical Appeals: Ethos, Pathos and Logos

Each of the three approaches attempts to prove arguments and persuade readers by emphasizing a specific type of appeal.

These appeals are not mutually exclusive, and you will often find elements of all three working together in effective writing.

Ethos: Appeals to Credibility and Authority

To use this appeal, you might emphasize experience or educational background, your own or those of your sources, as the reason the reader should believe you.

By citing credentials, the argument is being built on the word of experts.

Your reader expects to acknowledge the qualifications of the individuals or organizations presented as capable of supporting an argument with valid, factual, and credible information.

Pathos: Appeals to Emotions

Although this appeal is not as commonly used in academic writing as the other two, it does appear regularly in literary work.

Recognizing and using pathos appeals to personal values and emotions, which are some of the most powerful appeals.

Logos: Appeals to Logic and Reasoning

When you think about academic writing, you probably think of logic-based writing, which targets a reader’s intellect and often includes facts that build upon each other to support complex arguments.

Because this appeal relies on a reader being able to follow well-constructed arguments, it is critical this writing is clear, organized, and focused.

Extra information that does not directly support the logic of the arguments can distract and confuse a reader, and ultimately weaken an argument.

Identifying and Using Rhetorical Appeals

Now that you are familiar with each of the three rhetorical appeals, you can consider how you might use them in your writing, based on the specific rhetorical situation you are working with.

ETHOS

If your paper is discussing the effects of drinking and driving, you might include an interview with a veteran DPS Trooper who can discuss his fifteen years of experience working New Year’s Eve patrols. His professional credentials help your readers believe his observations and ideas are informed, relevant, and appropriate to the topic. By citing them, you are presenting your source’s DPS training, certifications, and experience as the reason your readers should accept your argument.

Incorporating topic information from reliable, well-informed sources strengthens your argument and makes it easier for your reader to accept.

Writers present their source’s credentials through in-text citations as well as through their Works Cited listings.

These citations provide your readers with the background and information they need to evaluate the quality and credibility of your sources.

PATHOS

If your goal is to get your reader to feel something, or to take a certain action, you may find this appeal highly effective.

Think about the popular TV commercials that raise money for abused animals. Those commercials are designed to make viewers feel sadness by showing images of pain and suffering. By the end, they switch to hopeful images and dialogue to inspire viewers to take a specific action and become supporters of their cause.

Pathos is often used in literature. Think about stories that seem to come alive in some way. Perhaps it is a character to whom readers can genuinely relate or stories that make readers feel happy, sad, or angry.

Writing that evokes emotion often uses Pathos. It is also commonly used in spoken word compositions like speeches, poetry, and theater.

When possible, including thoughtfully chosen images and music is another way you can use pathos through sensory details to connect with your audience’s emotions.

LOGOS

To create logical support in your work, you might include data, case studies, statistics, lab reports, and other similar information.

This is a popular appeal, and if you watch for it, you will find it used to support claims in everything from scientific reports to advertising, such as the familiar “Nine out of ten dentists recommend using an automatic toothbrush over regular brushing.”

COMBINING RHETORICAL APPEALS

As you start planning your essay, you may find that a combination of appeals works best.

Example: You might decide that case studies and lab reports will provide the best data to support your claims, focusing on only highly-qualified sources that are well known in your field.

By making these choices, you are employing the power of both Logos and Ethos into your essay, a combination that will result in a clear, organized, credible, and effective argument that conveys your message.

Source ⚜ Writing Notes & References

[fishtomale]

just found the yuri equivalent to a yaoi classic

[florasstudyjournal]

going onto pinterest for half an hour is a part of my study routine

[fordtato]

For a future video essay (reblog for sample size, thanks):

Feel free to be as specific as possible in the tags or reblog or replies

[infamouslydorky]

would you ever make an animatic using the "saruman the stupid" audio but with gant & von karma instead of gandalf & saruman. i need to know

I can make it my next ko-fi goal and I will

[room-surprise]

Asivia: The Marriage Hunter, Former Party Member

(This is an excerpt from my essay, Real World Cultural and Linguistic References in Delicious in Dungeon)

ASIVIA

(Japanese Pronunciation: Ashibia)

Asivia (アシビア) is a female magic user that was in the Touden party before Marcille. She’s a pretty woman who tries to take advantage of Laios’ trusting nature, and is referred to at one point as a “marriage-seeker”, implying that she is a gold-digger, looking to find a man who has recently struck it rich in the dungeon and marry them now that they have money. Laios seems oblivious to the fact that she’s using him. When Laios, under pressure from the rest of the party, tells Asivia that he can no longer give her special treatment, she immediately leaves.

Asivia is a name that comes from the precursor to Ancient Greek, Linear B. Linear B is a syllabic script that was used for writing in Mycenaean Greek, the earliest known form of the Greek language.

Asivia (𐀀𐀯𐀹𐀊/Ασίfια/a-si-wi-ja) is identified as an “ethnic name” on a chart I found online about names and words in Linear B, but it doesn’t specify what ethnicity. It most likely comes from the Hittite word Assuwa (𒀸𒋗𒉿, aš-šu-wa).

I found that asivia/asiwija was a word used to refer to a portion of northwestern Anatolia called Lydia. Later this word came to mean the world east of Greece in general, and eventually evolved into the English word Asia, so Asivia means a person from Lydia/east of Greece/Asia.

Lydia was an Iron Age kingdom located in modern day Turkey, and the name comes from Ancient Greek Λυδία (Ludía, “the region of Lydia”), from λυδία (ludía, “beautiful one, noble one”). The given name Lydia originally indicated ancestry or residence in the region of Lydia.

So Asivia’s name may be telling us where she’s from. In Dungeon Meshi’s case, it could mean she is from “Asia” meaning the Eastern Archipelago, or it could mean she is from the “East”, as in the Eastern Continent, where the story takes place. Since she looks like she has brown or red hair, I think she’s probably from the Eastern Continent. Her name could also be a joke about how she’s a pretty girl and Asivia means someone from Lydia, since Lydia/Ludia means “beautiful one” in Greek.

MISTRESS OF THE DUNGEON

Asivia/Asiwija also has a connection to the Ancient Greek word potina (𐀡𐀴𐀛𐀊/πότνια/po-ti-ni-ja), which means "Mistress, Lady", and is an honorific title used both for mortal women and goddesses. In the case of goddesses, it’s a euphemism used in place of their actual names, and Asivia/Asiwija is one of the descriptive words that has been found frequently accompanying potina. “Potina Asivia” means “Mistress/Goddess from the East.”

Despoina, another euphemistic title used the same way, means mistress of the house, and a famous use is a mysterious, nameless, "Mistress of the labyrinth", who was worshiped in Minoan Crete, the place where the Minotaur was supposedly imprisoned. The tale of the Minotaur and the labyrinth has deep connections to the world and plot of Dungeon Meshi, which I go into more in Chapter 12 (Elven Culture).

Asivia was not Laios’ mistress, obviously, but she wanted to be! And if she hadn’t left, and had become Laios’ lover, then maybe she would have been called the Mistress of the Dungeon (labyrinth) at the end of the story…

[pumpumdemsugah]

That James Somerton guy making videos about LGBT history, people and media based on vibes as facts ( and plagiarism but this post isn't about that ) is literally how social media treats LGBT history and has been for the last decade +. There's certain things that are objectively not fucking true but people have meltdowns whenever anyone points it out and then the baseless accusations fly. There's so much LGBT and feminist history + ideas online that's so far from the truth because people have been stretching the truth or embellishing for years unchallenged because someone feels validated and it feels true. Intellectual dishonesty is fine if it makes you feel good

The more people treat information and ideas like entertainment and validation, the easier it is for people like James Somerton to pop up over and over again because that environment makes it very difficult for criticisms to stick so they get to grow to a point it protects them and gives them more credibility which attracts more unsuspecting people that have no real reason to think they're consuming misinformation and stolen work.