#i don't believe women should be stay at home mother but in the context of that world it's not bad writing that they are

[hidendumbassvillage]

Sometimes I read things on my dash about the role of women in Naruto and well, I can't say they are put in the best spot that's for sure, and Kishimoto said he doesn't know how to write women we've all seen that.

I would say there are a few things to keep in mind though. The first thing is (and honestly that's something that I find often overlooked), that it's a shonen, so written for boys and it was also written for the most part in the 2000's which were actually quite a different time, especially in terms of media.

Second, if we forget that first aspect, the little number of kunoichi isn't weird at all if you ask me. Remember that they are fighters, who die very often and fairly young as stated in the manga. Thus, it doesn't make sense to send women (forgive me, it's painful to write it) in age of procreation to the battlefield. Even more so when fighting habilities rely so much on bloodlines. Men can sire much more kids than women, so despite women being as capable as shinobis as men, it wouldn't not be wise for a village to send most their women on the battlefield.

Having potential mother in the troops also means that some part of your army won't be available at some point. Tsume had 2 kids so that means she was out for something like 2 years, we don't know exactly how many jonin a village have but they don't seem that numerous (especially after a war or terrorist attack), having a good chunk of your soldiers on maternity leaves while you are under attack is not great (and the hidden villages were often under attack or at war).

Also judging how orphans are treated, it's probably better to make sure they have at least one parent left.

On a more meta view, authors have no obligation to create a fair world where everything get fixed (which is totally valid to dislike btw).

[gerudospiriit]

aloe , daisy , ivy [ headcanon meme ]

Botanical Headcanons || Open!

aloe : how does your muse handle grief ?

[answered!]

daisy : did your muse ever feel as though their innocence had been lost ? what moment in their life could be described as the end of their innocence ?

[I don't think it sunk in at the time as losing her innocence, but the weight of her people's plight and their place in the world overall really sank in when Aveil's mother and the Gerudo's best general was killed in battle by a Hylian stabbing attacking her from behind. Though she was only five, she had already been surrounded by death for a good portion of her life, both from the conditions of their environment (though, before the war, things were better for the Gerudo) and due to the toll the war took on their tribe. However, because this death was more personal and one she came to understand is what lead to their loss, it was then that she started to really dig into ideas of not just wanting to be the greatest warrior the tribe had ever seen but also in wanting to help better their lives and make sure this couldn't happen again.]

ivy : what are your muse’s views on marriage ? do they believe it is something strictly for love , or an institution rooted in business & social benefits ? do they desire or have they desired to be married ?

[Considering she was engaged before...everything, she doesn't necessarily despise the idea. However, marriage in Gerudo society is very rare since the general loyalty to the tribe doesn't always play particularly well with other cultures' ideas of marriage and how it should work, and the fact that it's not something that's pushed culturally (*stares in angy @ bo.tw and to.tk*) like it is for other cultures, especially when it comes to women.

With that said, Nabooru has a neutral-ish view on marriage, though, depending on the context, it might lean more toward a negative view when generalizing the idea of marriages for social benefits and the like as well as how Gerudo women who WANT to get married to a Hylian often don't because the Gerudo wants to be with their tribe as much as possible, but most Hylians expect to live with their partner full time (and if it's a heterosexual marriage, the majority of Hylian men expect women to take care of the children and home, meaning she would have to break from the tribe completely to do so).

Thus, Nabooru definitely does feel like marriage should be for love, not convenience or status or anything else, which stems both from her own ideals about love and relationships as well as how the Gerudo don't view marriage as a necessity in any way. To them, relationships are just as valid without marriage, so it's more typically viewed as a reason to celebrate with the Gerudo than anything legal, religious, or super binding outside of how the couple perceives themselves as bonded together or monogamous if that's how they feel.

As for Nabooru's case of nearly marrying, it was definitely out of love, but not something that was necessary. Even though her title would change, her duties would stay notably the same. What mattered to her in accepting the proposal was first and foremost she was in love. Head over damn heels. Second, it was because it further showed that Ganondorf not only trusted her, but that he trusted and respected her enough to WANT to name her his queen. But on top of that, it also meant that they could actually be public with their relationship instead of hiding it after the marriage (even though everyone basically knew they were at least canoodling anyway). Marriage itself wasn't the reason she accepted; that didn't matter because she liked their relationship as it was and didn't need anything like a ceremony or celebration to legitimize it.]

[mydearburkhart]

The Amy-verse

(or "if I was in that '70s show" part 4) | previously on The Amy-verse

Disclaimer: This is a work of fan fiction using characters from That '70s Show, which is created by Bonnie and Terry Turner and Mark Brazill. I own nothing, except for my original character, Amy Hamilton.

Warning: I'm not fluent in English and this is one of the ways I found to learn on my own. So if you find any mistakes, please let me know :)

1×02

*basement*

Hyde: Does it bother anybody else that these women live in Hooterville?

Eric: Technically, Petticoat Junction is down the track from Hooterville.

Hyde: Okay, does it bother anybody else that these women live down the track from Hooterville?

Donna: It bothers me that they bathe in the town water tank.

Kelso: With the dog.

Jackie: It isn't the drinking water, it is the water for the train.

Donna: It's still three naked women with a dog.

Fez: I want to be the Hooterville dog.

Jackie: Ames, you're awfully quiet. Are you okay?

Amy: Yeah, I was just trying to understand the context of this... scene, then I gave up and spaced out.

Kitty: Coming down... now, don't mind me. I'm just putting some clothes in. Eric, honey, I thought you could wear this on your birthday. It's nice, you look so handsome in it.

Eric: Why would I want to dress nice on my birthday?

Kelso: It's your birthday?

Amy: You don't know when his birthday is?

Kitty: Oh, you never know what's going to happen on your birthday!

Eric: Mom... mom, do not throw a party for me.

Kitty: Oh well, listen to Mr. Popularity. Like I have time to plan you a party. [laughs] Oh, uh... by the way, your sister Laurie is coming home from college for the weekend. No special reason, she just is. [goes upstairs]

Donna: Well, you're getting a party and best of all... it's a surprise!

Amy, to Eric: Your mom sucks at keeping secrets, but she's lovely. You should stop being an ungrateful idiot and appreciate the effort she's putting into this party.

[...]

*driveway*

Amy: So...

Donna: What?

Jackie: What are you gonna get Eric for his birthday?

Donna: I don't know, nothing seems right. I wanna give him something... special.

Amy and Jackie looked at each other, then gasped together: He kissed you!

Donna: Shh!

Amy: Donna, get in the car!

Jackie: Yes, get in the car so we can talk!

[...]

*in the car, Amy is on the back seat with her head between Jackie and Donna*

Jackie: Okay, what happened?

Amy: Tell us everything!

Donna: I'm not gonna talk to you two about this.

Amy and Jackie, at the same time: And who are you gonna talk to?

Amy and Jackie, to each other: Nice!

Donna, watching the boys play in the driveway: Okay! We get home from the Rundgren concert, and I'm sitting in the hood of the car, and I kissed him...

Jackie: French or American?

Amy: Even though everyone knows Brazilians are the best kissers...

Donna: I can't believe I'm talking to you two about this... [looks out of the window and sees them playing again] Okay! So, I lived next door to Eric my entire life and we talk about everything together, we love the same music, we love the Packers and then I kissed him and everything changed. And now I don't know if he's my boyfriend or if he's my best friend. If he's my boyfriend I lose my best friend, If I screw it up I lose my best friend and my boyfriend. Now, I have to give him his gift...

Jackie: Donna, Donna! I solved it. Get him... a scented candle.

Amy: Oh yeah, good idea.

Donna: A scented candle?

Jackie: It's practical and romantic.

Amy and Jackie: Oh, yeah.

[...]

*kitchen*

Amy: Hey, Mrs. Forman.

Kitty: Hello... young lady with an accent.

Amy: It's Amy.

Kitty, laughing: Amy... is there anything I could help you with?

Amy: Actually, I want to offer you my help.

Kitty: You want to help me?

*Amy nods*

Kitty: Oh, well. That's new.

Amy: I noticed that you're busy planning Eric's party and thought you could use some help.

Kitty, laughing: Oh honey, that's very kind of you. But wouldn't you rather spend time with the girls?

Amy: Uh... Jackie went to the mall with Donna to help her find a gift for Eric and I'm... kinda avoiding the mall.*

Kitty, understanding what she meant by that: In that case, I'd appreciate your help. Now, what do you know about American birthday parties?

Amy: Nothing really, but I know a lot about Brazilian birthday parties. See, there's a very popular candy on birthdays called brigadeiro. I can teach you the recipe.**

Kitty: Well, doesn't that sound fancy?

[...]

Kitty: Oh, Amy... this is delicious! [laughs]

Amy: I know!

Kitty: Thank you for helping me today, honey.

Amy: You're welcome, Mrs. Forman.

[...]

*basement*

Eric: Look, I know what you're all doing here.

Kelso: What are you talking about, man? We're just hanging out, like always. Except we're dressed nice, but that doesn't mean anything.

*Amy comes into the basement, wearing a red dress and a black jacket*

Amy: Let's party! [sighs] Why aren't you guys excited? I even wore my favorite dress!

Eric: Because I didn't want a party.

Amy: Oh, stop being such a pain in the ass. It's your birthday! Come on, cheer up a little. [she pulls him into a tight hug and gives him a kiss on the cheek] Happy birthday, Eric!

Amy, looking around: Why are you all staring at me? I'm Latina, I'm a hugger!

Kitty, from the stairs: Hi kids, I need your help with something. Amy, Jackie, Donna, Michael, Steven... young man with an accent, would you give me a hand? Not you Eric!

*everyone but Eric goes upstairs to help her*

Kitty: Everybody's ready? I'll call him.

*back in the basement*

Kitty: Eric, honey! Honey, could you come up here for a second? [goes upstairs again] Shut up, he's coming!

Everybody: Surprise.

[...]

Eric: Cassettes? Great, thanks, Hyde.

Hyde: You're welcome.

Amy: Open mine now.

Eric, opening the present: More cassettes? Wow, thanks, Amy.

Amy: Yeah, I didn't really know what I should give you. I was gonna give you a book, but I couldn't find an English version.*** So I thought, I'll give him some cassettes with Brazilian songs.

Kitty: Ooh, let's put them in the 8-track and play them.

[...]

Eric: Hey... it's a hot shave dispenser.

Kitty: Oh, he won't need that for a long time... a long, long time.

Midge: Of course he will, he's almost like a man.

Kitty: *kinda laughing, kinda crying*

Donna: I got you something...

Amy and Jackie: No!

Jackie: Donna, help me find my purse...

Amy: And I need help to find... my jacket?

Fez: But you are wearing it.

Amy: That's not the point, I'll lose it so Donna can help me find it.

Jackie: Donna, now!

[...]

*kitchen*

Donna: Jackie, you didn't even bring a purse... [sighs and points at Amy] And you have your jacket on.

Amy: Like I said, that's not the point!

Jackie: Duh! You can't give him your present in front of his guy friends.

Donna: I am one of his guy friends.

Amy: But you want to be his girlfriend!

Jackie: Look, Donna. I have put a lot of thought into this gift, please do not wreck this for me.

Donna, sarcastically: I'm sorry, I was being selfish.

Jackie, hugging her: It's okay...

Amy: Jackie, she was being sarcastic.

Jackie, gasping: How rude.

Amy, rolling her eyes: You know what? Go ahead, Donna. Give him a romantic gift in front of his friends, who are a bunch of assholes by the way, and his parents. He'll be embarrassed, you'll be embarrassed and it's more entertaining for us!

Donna: How come you're always right?

Amy: It's a talent of mine, you'll get used to it.

[...]

*the Pinciotti's kitchen*

Bob: Three fours, I need them.

Midge: Bob is very good at Yahtzee.

Kitty, gasping: The liquor cabinet!

Red: It's locked.

Kitty: What if there's an emergency?

Red: They'll call.

Kitty: What if they run out of chips?

Red: They'll starve.

Bob, standing up: I'm gonna fix myself a drink. Red?

Red: No... Kitty needs one.

Kitty: Well, I am just so worried– [motorcycle noise] Oh my lord, Laurie's leaving.

Red: Oh honey, she's in college. She doesn't wanna hang around with them.

Kitty: Well, maybe I should make a call, just in case–

Red, reaching for the phone before her: Kitty... what could happen?

Kitty: What could happen? [pause] Well, plenty could happen. Oh, plenty!

[...]

*fantasy sequence, Forman's living room*

Donna: Now that the adults are gone, we can be as bad as we want!

Jackie: Who wants to give Eric a venereal disease?!

Kelso: Hey, look... coasters!

Hyde: Forget coasters!

Eric: Please fellas, my mom put out coasters for a reason...

Hyde: I think I'm gonna put my drink directly on the furniture, that way it will leave a ring!

Eric: NOOO! Why oh why didn't I begged my mother to stay?

Amy: Oh shut up gringo, have some of my country's exotic food while we listen to samba!

Fez: Quiet you silly Americans, I'm on a long-distance call on your parent's phone.

Eric: But that's immoral.

Fez: Ha, in my country of... wherever it is I am from, I can never tell... morals get in the of a good, dirty time. But first, I need to eat some chips... What? Out of chips? Now I am mad, I must shoot something! [pulls out the gun]

Eric: Not the littlest hobo!

[...]

*Forman's kitchen*

Jackie: Wait on the porch, and I'll get Eric.

Donna: It's dark out there.

Jackie: And you're giving him a candle, yeah?!

Amy, shaking her head: Poor Donna, so young and naive.

Jackie: Here, matches.

Donna: He might not want to light it.

Jackie: Don't say that...

Amy: Don't even think it!

Jackie: Now, when he opens it, he'll say cool... or something. And then, you give him a look... like this. [demonstrates]

Amy: Oh no, honey. Don't do that, it won't shine on you. [to Jackie] Jackie, it's Donna, the same girl who wanted to give Eric his gift in front of everybody.

Donna: I'm right here.

Jackie, shaking her head along with Amy: She's right though, don't do that.

[...]

*living room*

Fez: So, what did you get from Donna?

Eric: Nothing yet.

Kelso: Oh... maybe it's the big gift. You know the really big gift. You guys... know what I'm saying when I say the big gift, right?

Hyde: Yeah, we got it... and we got it.

Fez: I'm not even from here and I got it.

*Amy and Jackie come into the living room*

Jackie: Oh Eric... Donna's on the porch.

Amy: She's waiting for you.

Kelso: He's getting the big gift!

[...]

*Amy, Jackie, Fez, Hyde, and Kelso are spying on Eric and Donna*

Jackie: This is it, he's going for it.

Kelso: Uh-huh, it's his birthday, she should kiss him first.

Jackie: She did the last time.

Fez, Hyde, and Kelso: What?

Amy: Shut up, Jackie.

Jackie: Nothing... shut up and watch.

Hyde: Come on Forman, go for it.

Eric, from outside: The door is open, we can hear you... We can see you!

*everyone hides*

Fez: Is he kissing her?

Hyde: None of us can see them, Fez.

Fez: Eric, are you kissing her?

Amy: Since you can hear me... Donna, I told you not to give him the look, it doesn't shine on you.

*Donna closes the sliding door*

taglist

@kim1918, @supernannygirl704things, @snookstheallmighty

let me know if you want to be part of the list ;)

* I don't know if it's clear, but Amy's family is broke.

** Brigadeiro is a little ball made of chocolate, and it's just THAT good.

*** That's actually true, but the English version of the book I chose was only released in 1988.

[mimicofmodes]

feel free to not answer if you are busy, but: do you know anything about victorian maternity wear, specifically 1880s-1890s? i'm aware (all?) women wore gestational corsets and not regular ones, but my books don't have much else on the subject.

It looks like I missed this question! It’s probably from ages ago, so I’m sorry, but I’ll c/p an answer I wrote on historical maternity clothing for AskHistorians:

The point of boned foundation garments (during the period in which they were worn) was, by and large, to give the "proper" shape to the body and to provide support. By the latter, I largely mean bust support, although advertisements and treatises promoting corsets talked up the garment's ability to support the body in general; children were also dressed in stays and corsets because they were believed to help young bodies to grow straight and strong, similar to the way that one braces a sapling. The former can be difficult to understand from a modern viewpoint - we often tend to phrase it as "the fashionable shape", which implies that women who didn't care about projecting an image of being on the bleeding edge of fashion might have forgone it, but in fact it was more a question of propriety. To not wear a corset by the mid-18th century, particularly in an English context, was to put yourself outside of respectable society; rural, working-class populations on the continent at this point were often still wearing a form of folk dress, which did often involve an unboned but still supportive garment. With the coming of the Industrial Revolution, corsetry gradually became available to all women at a wide range of price points, cementing the corset's position as a required part of the wardrobe: the soft, squishy (scientific term) look of a body without a corset would be immediately obvious to any viewer, and would represent a desire to look overly sexual in public. As a result, dropping corsetry when pregnant would be unthinkable.

The earliest evidence we have of corsets built specifically for pregnancy is in Diderot's Encyclopedia, published in 1771, in a plate showing one half of a set of maternity or gestational stays from the side. These are in almost every aspect like ordinary stays, but the center front seam is cut to form a slightly convex curve to accommodate the stomach, and the side features a slit from the bottom almost to the top, with eyelets on either side for lacing to allow the gap to be held in or let out as the size and shape of the individual pregnancy required. The clothing worn on top of maternity stays was similarly flexible: gowns were typically worn open in front over a stomacher, and the opening could simply be increased, the ordinary stomacher perhaps replaced with a larger one or covered with a handkerchief or mantelet (as shown in the 1774 satire, The Man of Business), the petticoat and apron tied looser and higher as needed. Once the pregnancy had progressed to the point that even maternity stays could not be worn at all, most women would probably stick to a petticoat and bedgown, an unfitted jacket that could be held closed with pins and one's apron, and would stay out of the public eye as much as possible. (In the case of poorer women who couldn't buy maternity stays, borrow them, or alter their own stays to have this side lacing, this stage would likely come much earlier. It's possible that this is why an apron over a baby bump was a near universal sign of pregnancy in popular satires of the day, even when the pregnant woman in the image is wearing a normal gown.)

Similar methods were used on nineteenth and early twentieth century maternity corsets - that is, side lacing. With the addition of "cups" for the breasts in corsets - not an element of eighteenth century stays - lacing was also often added there to deal with changes in the upper half of the body. The purpose of the maternity corset in this period was to support the belly from underneath, and to support the weight of one's clothing, as much as to give the proper shape. However, nineteenth century clothing was much less adjustable than that of the eighteenth century: rather than featuring lots of ties and pins, after about 1820 gowns generally fastened with hooks and eyes or buttons, meaning that any changes would have had to be made by unpicking and resewing darts and seams. The diary of Jeanette Marshall Seaton, who married in 1892 and very soon fell pregnant, gives us a very good look at what a professional-class/upper-middle-class woman would expect from her wardrobe: her high-end day and dinner dresses were slightly altered and artfully covered with a lace shawl or a scarf in order to work until midway through her pregnancy, and a traveling dress was let out extensively for the last few weeks and then put back to its original shape afterward. Two dresses were purchased/made specifically for her pregnant shape and one of those was altered afterward to fit her normal form. Between clothing being altered after maternity in order to continue to be usable, loose "undress" clothing being worn both in and out of pregnancy, and maternity clothes being handed down until worn out, we have little physical evidence of specifically maternity clothes.

There's a misconception that expectant Victorian mothers hid themselves away as soon as they were visibly pregnant, so maternity clothes didn't come into the picture - this is a misunderstanding of the term "confinement", which referred to the short period before the birth as well as the time afterward when the new mother stayed in bed or at least her bedroom (highly variable - affluent women could rest until fully healed, while working women would often be expected to be on their feet the next day) but was also a euphemism for "labor". While pregnancy was a taboo topic in open, public conversation and in fiction and fashion magazines, women were allowed to exist outside of the home while pregnant. At the same time, the pregnant figure wasn't considered a beautiful figure, and women did show concern about camouflaging it for aesthetic reasons. Throughout Jeanette Seaton's pregnancy, she prided herself on concealing her condition, and proudly noted in her diary that one female acquaintance was shocked when the birth announcement turned up in the newspaper due to her success.

For more detailed information about Jeanette Seaton and her maternity clothes, you should look up the article "The Expectant Victorian (Late 19th Century Maternity Clothes)" by Zuzanna Shonfield in the journal Costume, volume 6.