#marguerite de ghent

[inexplicifics]

I'm guessing you've probably already been asked this but do you have a list of face claims for your accidental warlord series?

I don't have as many as I might, because I don't tend to think like that. That said, the ones I do have are over in the Accidental Warlord Supplements.

Aiden of the Cats: Santiago Cabrera as Aramis in the Three Musketeers

Aubry of the Wolves: Jason Momoa as Ronon Dex in Stargate: Atlantis

Esra of the Bears: Brent Burns as Skane the Viking in Vikings

Agata: Megan Dodds as Marguerite de Ghent in Ever After

Cedric: Christian Kane as Eliot in Leverage

Axel: Booboo Stewart

Roland: William Moseley as Peter Pevensie in The Chronicles of Narnia

Gweld: Stefano Masciolini

young Pavetta: Gaia Mondadori Elen an Craite: Sophia Myles as Isolde in Tristan and Isolde

I hope that helps!

[debarbarac]

1494 - danielle augustine thérese is born to auguste de barbarac, a wealthy untitled merchant & landowner, and his wife nicole de lancret. nicole dies of childbed fever a little over a week later. auguste is left to raise their daughter and run their manor situated on the outskirts of dordogne as a widower. he instills in danielle a deep love for literature, philosophy, hard work, and adventure.

1502 - auguste, realizing that danielle is in need of a gentlewoman’s education as she grows older, courts and marries the baroness rodmilla de ghent. she brings with her two daughters, marguerite and jaqueline, from her previous marriage. auguste dies of a sudden heart attack two weeks after his wedding. danielle is inconsolable, near feral in her grief.

1504 - due to dwindling funds, rodmilla fires the majority of the estate staff. danielle is moved into the attic and marguerite is given her old room.

1505 - danielle starts to perform more and more of the household chores, to help alleviate the stress on of the remaining servants, paulette, louise and maurice.

1509 - marguerite (and jacqueline) are introduced at court. rodmilla starts seeking an advantageous match for marguerite, her sights set on the newly crowned dauphin, henry de valois, still mourning the death of his elder brother years previous.

1510 - rodmilla slowly begins selling off the contents of the manor to the court armorer, pierre le pieu, to pay for her mounting debts. she starts small, to avoid arousing suspicion of the other members of the house.

1512 - danielle meets, is courted by, and eventually marries henry. she becomes dauphine of france. manoir de barbarac is lovingly restored. the subject of their sudden marriage is a matter of great intrigue to both the court and surrounding countries.

[starsallalight]

Baron Jacques de Ghent was an older and sickly man when he married the much younger Lady Rodmilla, the daughter of a landowner, encouraged by her own mother just as she would later encourage Marguerite. Jacques, however, did truly love her. He died when Jacqueline was 3. And though he loved both of his daughters, Jacqueline was his favorite. She looked the most like him and had his personality, and he was the one who named her.

[hclyrevivals]

ღ * ➜ (  olivia cooke , cisfemale , twenty-five , she/her ) it seems like danielle de barbarac might be making a new home in mystic, connecticut. a canon character from ever after : a cinderella story , danielle was seen walking down main street. while they arrived four years ago , they do not believe they have been here their whole lives.

❀ ˚ ↬ full name : danielle de barbarac

❀ ˚ ↬ relationships : jacqueline & marguerite de ghent, step sisters

❀ ˚ ↬ sexuality : bicurious

❀ ˚ ↬ shipping : open

❀ ˚ ↬ occupation : unemployed

[wyrdhearth]

@sinamor : ❝ you’re too scared to admit it. when things go bad, you want to explain it away. ❞ tristan thorn ➵ danielle de barbarac.

danielle faltered at those words. her chest tightened inexplicably. she had never been in denial of what her step-mother was like, cold cruelty and all. but was it truly so terrible to wish for love when she had been close to the only family she had ever known?

...but no, that was not true. not when she knew jacqueline, who was as kind as marguerite was vicious. not when she knew gustav, who had been as a brother to her for many years now. not when paulette, louise, and maurice all had taken part in raising her. why then, was it so impossible to let rodmilla de ghent go?

❝ I do not wish to explain it away... not –– literally, anyway. ❞ she shook her head, looking down at her hands –– man-ish, as rodmilla had once called them. ❝ perhaps it is the child in me, but I wonder if people can change. and then I recall her whippings and I think: perhaps not. ❞ she shared with tristan a small, wry smile. ❝ I know I am naive. but I cannot help it. ❞

FEAR STREET 1978 : not accepting.

[sayingitwithgifs]

[lemaldusiecle]

[hitchell-mope]

Good film. Now on to the first animated sequel

[historical-beauty-lily]

Ever After: A Cinderella Story (1998) dir. Andy Tennant

[archivistofnerddom]

I lied. THIS is why I love  Jacqueline

Look at his face! “That’s my new girlfriend.” 

[moretreasurewithinarchive]

"No! I'm tired of doing what you say."

Open to Rodmilla or Marguerite

[ladyniniane]

“Medieval women were officially denied most of the public forms of education (song schools, grammar schools, and universities) available to males, yet paradoxically, there was a vocabulary for women performing advanced intellectual work: in Latin, for instance: auctrix (female author), scriptrix (a female scribe), magistra (a female teacher), and, though ideational, even doctrix (the female equivalent of doctor, the university’s top rank) and apostola (female apostle). In fact, women were the first educators of both boys and girls in the home, a role codified even in scholastic theology by writers like Thomas Aquinas and Henry of Ghent as a woman’s right to teach “sound doctrine” to the young (cf. Titus 2:1–8 or Proverbs 4:3–4). For Aquinas, this private sermo was appropriate to women, as successive theologians agreed, including even the teaching of nuns (secreto in claustro). Canon law granted the right of abbesses to teach, but not to teach men (ne doceat viros; nam mulieres potest abbatissa), a position that was effectively challenged over the centuries by Hildegard of Bingen and others.

Theologians perennially debated pro and contra as to whether women could preach publicly, the contra arguments repeated ubiquitously by modern scholars, but the pro arguments more rarely, so worth mentioning here: the traditionally accepted circumstances under which women could teach theology, for instance, are summed up by Henry of Ghent in his questio, “Utrum mulier possit esse doctor seu doctrix huius scientiae.” Repeating the standard biblical evidence that God called women as prophets to teach publicly (docere publice) or lead the Hebrew people he named four in particular: Miriam, Deborah, Huldah, and Anna – the very four, we should note, invoked in a prayer for the ordination of women in the early church. Women, like anyone who has a special gift of knowledge (1 Peter 4:10), he says, are obliged to minister or lead (debent administrare), adding that Mary Magdalene and Martha taught just as disciples (publice sicut Apostoli). These women, of course, first delivered the news of the Resurrection to the disciples themselves, an act that engendered the medieval term apostola (translated “apostolesse” in Caxton’s English), applied not only to the biblical women, but to revered women figures such as Catherine of Siena. Theologians alsocited in their “pro” arguments women missionaries even St. Paul had recognized, building, albeit grudgingly, a case for women’s teaching under defined circumstances, i.e., when there is need (a shortage of labourers in the vineyard) or when there are too many corrupt or degenerate males (ironically termed “effeminati”).

Fortunately for medieval women, there was never a shortage of male clerical corruption. So the loophole authorizing women to teach “by a special grace” (ex speciali gratia) persisted, and a surprising number of women took advantage of it to preach, teach, write, and minister in a variety of ways – in the present volume alone: Agnes of Harcourt, Catherine of Siena, Colette de Corbie, Mechthild of Magdeburg, and Mary Ward. Especially at times of stress and crisis for the church, such women emerged: Hildegard of Bingen’s preaching tours took place during the twelfth-century period of heresy and schism; the turbulent years of the late thirteenth century for the papacy and for beguines gave rise to the works of Mechthild of Magdeburg, Marguerite Porete, and the anonymous author of “Eckhart and the Lay Woman”.”

Kerby-Fulton Kathryn, “Taking early women intellectuals and leaders seriously”, in: Women intellectual and leaders in the Middle Ages

[inexplicifics]

Hello! I just wanted to know if you had any face claims for you OCs and how you feel about illustrations of your work? Thanks!

The second question is much easier: I love them so much. Art of my work fills me with awe and glee.

Faceclaims are harder because I am very, very bad at them, but here's what I do have, both for OCs and for canon characters who don't have actors/images easily available:

Milena: this stock photo and/or Audrey Hepburn

Aiden: Santiago Cabrera as Aramis in The Three Musketeers

Aubry: Jason Momoa as Ronon Dex in Stargate Atlantis

Esra: Brent Burns as Skane the Viking in Vikings

Agata: Megan Dodds as Marguerite de Ghent in Ever After

Julita: the-ladybugs-soul on tumblr

Dragonfly: Katy M. O’Brian (with a blonde wig)

Cedric: Christian Kane as Eliot in Leverage

Roland: William Moseley as Peter Pevensie in The Chronicles of Narnia

Gweld: Stefano Masciolini

Axel: Booboo Stewart

Elen an Craite: Sophia Myles as Isolde in Tristan and Isolde

Rach of the Cats: Vitalina Batsarashkina (Olympic gold medalist)

and last but not least, I am leaning towards Harvey Guillen (as Guillermo in What We Do In The Shadows) for Sasha (Aleksander)

[princesssarisa]

Cinderella September-through-November: "Ever After: A Cinderella Story" (1998 film)

Here we find one of the most beloved period romance films of the '90s, which many people consider the greatest screen version of Cinderella, even though it's far from a straightforward adaptation of the fairy tale. Ever After re-envisions the classic story in two ways: first of all, not as a fantasy but as realistic historical fiction set in 16th century France, and secondly, with a feminist twist. In its framing scenes set in the 19th century, the Brothers Grimm are summoned to visit an elderly French noblewoman (Jeanne Moreau), who tells them the story of her great-great grandmother, the "real" Cinderella.

Drew Barrymore stars as 18-year-old Danielle de Barbarac, who was raised as a tomboy and a bookworm by her loving father, but after his death was reduced to servitude by her stepmother Baroness Rodmilla de Ghent (Anjelica Huston). One morning she throws a volley of apples at a man she catches stealing her father's old horse... and this young man turns out to be the rebellious Prince Henry (Dougray Scott), who pays her a purse of gold to keep her quiet about his adventuring. Disguising herself as a countess in a borrowed gown, Danielle sets out to use the money to free a manservant whom her stepmother sold into slavery to pay her debts. In doing so she again meets the Prince, who doesn't recognize her, and his casual snobbery toward the poor earns her disdain, but her courage, intelligence and idealism earn his respect.

Thus begins a five-day romance arc that includes visiting a magnificent monastery library, treking through nature, and first battling but then befriending Romani bandits. Danielle's convictions teach Henry to rethink his classism and to use his position to improve others' lives, while Henry in turn helps Danielle to find new inner strength and willingness to defy her abusers at home. Meanwhile, Leonardo da Vinci (Patrick Godfrey), newly arrived at the French court, befriends both the Prince and Danielle, and ultimately becomes Danielle's "fairy godfather" of sorts, helping her to attend the royal masquerade ball and crafting her mother's wedding dress into a stunning angel costume. But Henry still doesn't know that his love isn't really a countess, and Baroness Rodmilla is determined to see him marry her elder daughter Marguerite. At the ball she exposes Danielle's identity as a "servant" and Henry rejects her. To make matters worse, Rodmilla then washes her hands of Danielle by selling her as a slave to a lascivious gentleman. But just in time, Henry realizes his mistake and Danielle's own fighting spirit frees her from her captor, leading to a fairy tale-worthy "happily ever after."

This film effectively has everything viewers could want from a period romance: the romance itself, of course, but also action, humor, clever dialogue, suspense, and an excellent balance between capturing the spirit of a fairy tale and fleshing it out in a "realistic" and human way. While there isn't complete historical accuracy (to name one minor detail, the Mona Lisa is depicted on canvas when it was actually painted on a wood panel), the 16th century atmosphere is wonderfully vivid, with the lush visuals capturing both the beauties and the grittiness of the era. And the characters are equally vivid. Danielle is a feisty Cinderella for the '90s, who swims and climbs trees, quotes Thomas More, talks back to royalty, punches her stepsister in the eye, and wields a sword to rescue herself at the climax; yet Barrymore infuses her with enough humanity and vulnerability to save her from being a cardboard feminist role model. Scott's Prince Henry is truly her "match in every way," strong-willed yet good-hearted, and flawed yet with an arc of positive growth. Their chemistry is excellent as they make their quick progress from bickering to friendly bantering to love. Huston's scheming Rodmilla is a quintessential wicked stepmother, Godfrey's Leonardo is fittingly wise and witty, and the supporting cast is excellent all around, with a particularly fresh spin on the characters of the two stepsisters. While the pretty elder sister Marguerite is a loathsome brat, the younger, plainer Jacqueline is a decent person, just cowed by her mother and sister, and she eventually chooses to break free from them. (This marks the start of a minor tradition among the more recent Cinderella retellings, including Disney's direct-to-video sequels: giving one of the stepsisters a redemption arc.)

It's no wonder that Ever After is such a beloved film, both among Cinderella lovers and among fans of period romance in general. Young girls (or boys) who grew up loving the Disney film, the Rodgers and Hammerstein musical, and/or other traditional Cinderellas should give this version a viewing once they reach middle school or high school age. Whether or not it becomes their favorite Cinderella, it will most definitely engage them.

@superkingofpriderock, @ariel-seagull-wings