#stress-es tres-tres

[mtonino]

Stress-es tres-tres (1968) Carlos Saura

[almeriamovies]

Playa de Monsul - Cabo De Gata natural park - Almeria - Andalucia

[luceracastro]

Teacher’s Pet

Part 4

Esteban Kukurickza x reader

Summary: After a few months of starting your literature course you seem to find it harder with time to ignore your professor, little did you know you were driving him crazy as well.

Warnings: nothing much just some fluff but not an appropriate teacher student relationship

Masterlist

It had been a few weeks since you and Esteban had basically spent the whole day together and since then you both were more close, that should be the way to describe it, he would bring you breakfast in the mornings and you would bring him coffee and a treat, he would send you emails to make sure you were okay with the lessons and that you weren’t stressed in any way

He would also make sure you were okay at work offering to bring you lunch on your breaks which you accepted gratefully since you were tired of the small breads from the coffee shop, your relationship had progressed from the beginning and it made you happy.

“Buenos Dias” you smiled putting the coffee cup down on his desk before taking a sip of your own “Buenos dias amor” amor, a new nickname that you adored “que haces?” You asked leaning on the edge of his desk, “nomas unos papeles” he sighed then he gave you a plastic bag, breakfast “es un burrito con huevo, tocino, y queso” he said as he flipped through some of the papers and you hummed peeling down half of the foil and taking a bite

“Y esto?” You pulled up a yellow folder and he carefully took it from your hands throwing it in a drawer “nada amor nada importante” he said a small smile on his lips and you gave him a pointed look “mentiroso” you mumbled taking a bite of the burrito, he laughed “yo mentiroso?” He asked amused making you nod as you sipped the coffee

He pinched your thigh playfully making you giggle as you swatted his hand away taking another bite of your breakfast “comiste bien a noche?” He asked and you nodded as you couldn’t answer with your mouth full and he looked at you in awe “que?” You asked a small embarrassed smile on your lips “te ves tan tierna amor” he said making you roll your eyes playfully

“Bueno ya me voy a senatar” you stood up and crumbled the foil throwing it out and taking your coffee with you “bueno nena” he watched as you went to take your usual seat.

After class you had gotten your stuff waiting for most of the class to clear out, walking up to Esteban you carefully grabbed his arm “voy al trabajo” you let him know and he nodded “te llevo comida” he said and you nodded “bueno” you smiled leaving and making your way to the bus to get to work

Once clocked in there was no such thing as a break or slowing down, you were at the register or serving people their orders.

“Oye nena, el novio” Nereyda your coworker said as she stood at the doorway to the break room “no es mi novio” you mumbled walking past her before making your way around the counter “Hola” you smiled standing in front of him “hola amor” he held a plastic bag with food in it “ven vamos” you lead him to the back where the break room was, your boss was allowing you to do this since you were the only one who ran the coffee shop the right way

Therefor you were allowed this certain special treatment.

“Cansada?” He saw how your eyes were droopy and you chewed slowly as if you were uninterested in the food “un poco” you took another bite of your food “aye pobrecita la niña” he teased as you smiled shaking your head “y a que hora sales?” He asked “en tres horas” you said taking another bite of food

“Te llevo a casa” he didn’t ask he just told you and you learned that whatever he says goes because he is very insistent "Y como esta you gatita?" you asked about the cat he had told you about

the little kitten he adored and you couldn't help but smile every time he mentioned her "Esta bien, en casa dormida como siempre" he smiled at the thought "Yo la quiero conocer" you said and he smiled "Pronto la vas a conocer, te va amar" he assured you making you smile as you sighed “aye no sabes el sueno que tengo” you sighed

“Y no puedes salir temprano?” He asked you shook your head “luego no me pagan bien” you said and he sighed his fingers making their way through your hair in a soothing way making you close your eyes for a moment “bueno cuando te recojo puedes dormir en el carro” he said and you nodded eyes still closed

But it did not last since your phone let out a loud alarm making you jump slightly and you realized your lunch was pretty much over “ya tengo que regresar” you groaned and he frowned a little “esta bien amor, te recojo entonces” you nodded and he helped you pick up

After he left you were back to work, it seemed like time went slow when you worked, you weren’t complaining too much since it was more pay but still it was draining nonetheless

Once your long shift was actually over you had picked up and tidied up the shop before pulling off your apron and hanging it up, you grabbed your stuff and the small paper bag which held a chocolate croissant that you couldn’t bare to throw away and locked up

Esteban was already in front of the shop waiting and he hopped out of the car ready to open the door for you which you thanked him for with a smile, a rule he had given you which was never to open your own door

He got back in and the car was so warm and the seat was comfortable for someone who was up on their feet for 9 hours “quieres algo?” He asked and you shook your head “no gracias, quiero ir a casa” you opened the bag ripping a piece of the croissant, after having a bite you ripped off another piece holding it in front of Esteban’s lips as he opened his mouth allowing you to pop it in

“Esta bueno?” You asked he nodded “muy bueno” he confirmed. The drive home wasn’t too far so you both didn’t always get much time together but some time was still treasured time. Esteban got off the car once more opening the door for you, you sighed standing in front of him, pretty close too

“Gracias por traier me a casa” you smiled and he looked at you in an admiring way a smile on his lips as he sighed “de nada amor, recuerda lo que sea para mi alumna favorita” you chuckled your cheeks tinting red and you looked down at your shoes “mírame” he said in almost a slight demanding yet calm and soft tone, you looked up but not without feeling that tingling warmth in your belly

“Cuídate amor, por favor y duerme bien, vale?” You could not form words right away so you nodded “vale” you finally let out softly and he nodded his arms wrapped around you and you didn’t expect it, but you took it and let your arms wrap around his torso and what you both didn’t realize was that you inhaled one another’s scent, he smelled of cologne, mint gum, and cigarettes and you smelled like the comforting smell of coffee and your perfume

Finally you both pulled away after a moment and his fingers brushed the loose strands of hair away from your face, “bueno amor, ve y descansa te veo mañana” you nodded “buenas noches” you said barley above a whisper before you began to walk away and make your way inside the building, you saw him get into his car once he saw you were inside and you got into the elevator your heart pounding

You both never were that physically close and it was the best feeling ever but it was also the most nerve wrecking feeling as well, you set your things down once you entered your apartment and got to thinking about it all, your head was racing and your heart was still beating fast. Meanwhile Esteban was as happy as can be, he’s sure he can make you his, he knows it.

A/n: hope you all enjoyed!!!! I plan on making things more interesting just bare with me haha but also whoever reads this thank you sm and I hope you all love this fic just as much as I love writing it ❤️❤️❤️

Also likes, reblogs, and comments are very much appreciated but don’t feel forced my loves just as long as you read and enjoy that is suffice for me, I love you all sm💗💗💗 also if you want to be tagged let me know !!!

Taglist: @madame-fear @castawaycherry @theoslove @catiwinky

[spanishskulduggery]

Adjective Placement in Spanish Overview

With regards to adjective placement, I know I linked that bigger post I made about what the placement of adjectives generally mean but I'll give a very brief overview and if anyone has any specific questions please let me know.

IN GENERAL for like 70-ish percent of the time, adjectives go behind the noun in Spanish. These are your basic everyday adjectives that just describe nouns; el gato negro "the black cat", la mujer alta "the tall woman", los datos importantes "the important data", las tormentas peligrosas "the dangerous storms"

And again, IN GENERAL, if an adjective precedes the noun it is as if you bolded or italicized the adjective. It makes the adjective really stand out because of how out of the ordinary it is. It's very commonly used in poetry, writing, or for hyperbole:

La cruel realidad = The cruel reality La fea verdad = The ugly truth Mis sinceras disculpas = My sincere apologies Mi más sentido pésame = My most heartfelt condolences/regrets

If you were looking at it more poetically you could think of "blue sky"... el cielo azul "the blue sky" is everyday Spanish, very typical. Saying el azul cielo "the blue sky" draws the eye to azul making it seem like "blue" is the most important or noteworthy thing about it

You typically see this kind of construction in everyday Spanish with expressions of gratitude, grief, horror, deep love, or any very strong emotions or when you're trying to make an impact

(More below)

-

Note: This will impact certain aspects of grammar, such as the nouns that are actually feminine but take a general masculine article such as el agua, el arma, el hada, el hambre, el águila etc.

As an example:

El hada madrina = Fairy Godmother La buena hada = The good fairy

To further explain this rule - el hada is written with a masculine article. This is because it has its vocal stress on the first syllable and begins with A- or HA- [where H is silent]; and treating it as feminine would cause the sounds to run together, so the el adds a kind of phonetic break to preserve the sound; but in plural it will be las hadas "fairies/fey"

A word like this would still retain its normal functions as a feminine word, thus el agua bendita "holy water", el águila calva "bald eagle", el ave rapaz "bird of prey", and then in this case el hada madrina "fairy godmother"

By adding a separate word in front, you interrupt that la + A/HA construction and create a hiatus in the sounds already... so you can then treat it like a normal feminine noun, la buena hada "the good fairy"

You might also see this with grande "big" and its other form gran "great/large", el águila grande "the big eagle" vs. la gran águila "the great eagle"

-

Moving aside from the normal grammar, we now enter the exceptions. First - determiners.

There are a handful of adjectives that are known as determiners which come before the noun and they provide an important function in communicating things like number, possession, and location

The most common determiners include:

Definite articles [el, la, los, las]

Indefinite articles [un, una, unos, unas]

Possessives [mi, tu, su, nuestro/a, vuestro/a]

Demonstratives [este/esta, ese/esa/, aquel/aquella]

Interrogatives [qué, cuál/cuáles, cuánto/a] (Also work as exclamatory determiners which just means ¡! instead of ¿?)

Cardinal numbers [uno, dos, tres, cuatro, cinco etc]

Ordinal numbers [primer/primera, segundo/a, tercer/tercera, cuarto/a, quinto/a, etc]

There are also a few determiners of quantity such as mucho/a "a lot/many/much", todo/a "all/every", cada "each", vario/a "various/many", poco/a "few/less", tal "such", tan "so much" / tanto/a "so many", algún/alguna and ningún/ninguna etc.

And it will generally apply to más and menos "more" and "less", and sometimes mejor/peor "better/worse"

-

Note: With possessives is that there are two forms depending on adjective placement:

mi amigo/a = my friend mis amigos / amigas = my friends un amigo mío = a friend of mine una amiga mía = a friend of mine [f] unos amigos míos = a few friends of mine unas amigas mías = a few friends [f] of mine

All the pronouns have their own version of this possessive pattern

mi(s) and mío/a, tu(s) and tuyo/a, su(s) and suyo/a, and then nuestro/a and vuestro/a are the same but the adjective placement is different

As an example - nuestro país "our country" vs. el país nuestro "the country of ours", or nuestros familiares "our family members" vs. unos familiares nuestros "some family members of ours"

A common religious example - Nuestra Señora "Our Lady" and then el padrenuestro "the Our Father prayer"

The possessives that come after the noun are usually translated as "of mine/yours/his/hers/ours" etc.

You can also see a few determiners/adjectives in different places in a phrase like - un viejo amigo mío "an old friend of mine" vs. mi viejo amigo "my old friend"

-

As mentioned in the very beginning there are a handful of exceptions

Most notably:

viejo/a = old / elderly

antiguo/a = ancient, old / antique, old

mismo/a = same / self

gran = great, grand grande = large

And includes propio/a "own / appropriate", as well as bueno/a "good" or malo/a "bad". I discussed a lot of these in more depth in the previous posts and in the one linked above

In many cases the exact meaning is different, even if it's slight - such as el hotel grande "the big hotel" vs. el Gran Hotel "the Grand Hotel"

bueno/a and malo/a are generally either "good" and "kind", or "bad" and "unkind", though the meanings can kind of blur together... as something like la buena hada "the good fairy" isn't so far off from el hada buena "the nice fairy"

When places before though bueno/a turns to buen + masculine, and malo/a turns to mal + masculine

As an example - un buen augurio "good omen", un mal presagio "a bad omen/portent"

.....but in feminine it looks like you'd expect: buena suerte "good luck" vs. mala suerte

Similarly, and one I didn't include the first time is cualquier/cualquiera

cualquier persona = any person una persona cualquiera = an ordinary person

cualquier in front - regardless of gender - means "any", literally "whichever"

cualquiera in back comes out as "ordinary" or colloquially "any old" [such as un beso cualquiera "an ordinary kiss" / "any old kiss"], or in the case of people it could be like "a person of dubious/unknown background" sort of like "they could be anyone"...

-

And then you run into what I would consider "collocations" which is another word for a set noun or expression

There are some words/expressions that have the adjective in a specific place and you can't really change it or it sounds weird, so you sort of have to learn them as specific units to remember:

las bellas artes = fine arts [lit. "beautiful arts"]

(de) mala muerte = "backwater", "poor / middle of nowhere", a place of ill repute or somewhere very remote or inconsequential [lit. "of a bad death"]

a corto plazo = short-term

a largo plazo = long-term

(en) alta mar = (on) the high seas

alta calidad = high quality

baja calidad = low quality

Blancanieves = Snow White (the character/fairlytale)

la mala hierba, las malas hierbas = weeds [lit. "bad grasses"; plants that grow without you wanting them to or that grow in bad places etc]

los bajos fondos = criminal underworld [lit. "the low depths"]

el más allá = "the great beyond", "the afterlife" [lit. "the more over there/beyond"]

buen/mal augurio = good/bad omen buen/mal presagio = good/bad omen

buena/mala suerte = good/bad luck

...Also includes all the greetings like buen día / buenos días or buenas noches etc. they're all considered set phrases

There are also many collocations that use adjectives in their normal place that also can't be separated such as los frutos secos "nuts", or el vino tinto/banco "red/white wine" etc.

A collocation just means that they are treating multiple words as set phrases or a singular unit

And again, some history/geographical terms will have these as well:

la Gran Muralla China = Great Wall of China

la Primera Guerra Mundial = First World War

la Segunda Guerra Mundial = Second World War

el Sacro Imperio Romano = Holy Roman Empire

la Antigua Grecia = Ancient Greece

el Antiguo Egipto = Ancient Egypt (el) Alto Egipto = Upper Egypt (el) Bajo Egipto = Lower Egypt

Nueva York = New York

Nueva Zelanda = New Zealand

Nuevo México = New Mexico

Nueva Escocia = Nova Scotia [lit. "New Scotland"]

la Gran Manzana = the Big Apple [aka "New York"]

Buenos Aires

There are many such terms

[nuis-world]

"NUI WORLD" (LISTA DE CAPÍTULOS / TEMPORADA 01)

AUTORA: SHIZUME SHADE

01. Bienvenidos al mundo de K-Nuis (Grupal) 02. Amistad peluchera (Trio Homra, Anna y Reisi) 03. Cumple del Rey León (Grupal) 04. Reunión de Navidad (Grupal) 05. Háblame universo (Shiro/Kuro) 06. Se alquila (Mikoto) 07. Ventaja de estar soltero (Zenjo) 08. ¿Dónde está mi dinero? (Totsuka) 09. Media naranja (Izumo/Andy/Totsuka) 10. Si quieres flores... (Kusanagi) 11.  Shampoo VS Lavaplatos (Rikio) 12. Beneficios del agua (MikoRei) 13. Una cepillada (Seri/Izumo) 14. Alarma molesta (Shiro/Kuro) 15. La maquinita Chu-Chu (Mikoto/Reisi/Totsuka) 16. Respóndeme ya (SaruMi) 17. Necesito un aumento (Saru/Seri/Reisi) 18. Vendo (Andy) 19. Siempre hermoso (Yukari) 20. ¿Tienes hambre? (Yata/Rikio) 21. Rumores (Mikoto) 22. Nivel de stress (MikoRei/Zenjo) 23. Alegría de la vida (Totsuka/Izumo) 24. ¿Con qué trabajo? (Saru/Reisi/Seri) 25. Imposible hacer dieta (Rikio) 26. Busco acompañante (Yata/Rikio) 27. Etiquétame (Totsuka) 28. La herencia (Iwa/Sukuna) 29. El mejor guerrero (Izumo/Seri) 30. Tomando agua (Zenjo) 31. Cásate con... (Shiro/Kuro) 32. Es hambre (Rikio/Totsuka) 33. Cenicienta (Kuro) 34. Escucha atentamente (Yukari/Shiro/Kuro) 35. Ser de luz (Reisi/Totsuka/Mikoto) 36. Promoción (Shiro/Kuro) 37. Dos esposas (Totsuka/MikoRei) 38. Chisme (Mikoto/Totsuka/Reisi) 39. Quemando calorías (MikoRei) 40. Catador de princesas (Izumo/Seri) 41. Oración del borracho (Iwa/Grupal) 42. Sabias que... (Izumo/Seri) 43. Pesadilla (Iwa/Izumo) 44. Dos menos cinco (Izumo/Seri) 45. Burrito cervecero (Iwa/Grupal) 46. ¿Qué edad tienes? (Iwa/Totsuka) 47. Se busca (Totsuka/Mikoto/Iwa) 48. Sugar Baby (Totsuka/Iwa) 49. Tafirol (Andy) 50. Molestando (MikoRei) 51. El mujeriego (Izumo/Seri) 52. Promoción engañosa (Rikio) 53. Una nube (Mikoto) 54. No está en mi menú (Rikio/Yata) 55. ¿Quién eres? (Reisi) 56. ¿Para dónde vamos? (Izumo/Seri) 57. Recibo de luz (Trio Homra) 58. Todos contentos (MikoRei) 59. El chisme es vida (Izumo) 60. ¿Cómo conseguir pareja? (Yata) 61. Con estilo (Totsuka/Anna) 62. Estilo coquete (Totsuka) 63. Divorcio (Izumo) 64. De mugre nadie muere (Totsuka) 65. ¿Qué haces? (Totsuka/Mikoto) 66. Tres cosas en la vida (Trio Homra/Reisi) 67. Inmortal (MikoRei) 68. Mi corazón (Izumo/Seri) 69. Peso interior (MikoRei) 70. Es injusto (Seri) 71. Golpeado (Trio Homra) 72. Tenemos un problema (Izumo/Seri) 73. Inyección (MikoRei) 74. Engaño (MikoRei/Grupal) 75. Buen gusto (Yukari) 76. Tres fans (MikoRei) 77. Oiga, Doctor (Izumo/Seri) 78. Abrazos (Totsuka) 79. ¿Qué somos? (Rikio/Grupal) 80. Soledad (Reisi) 81. Maldita panza (Rikio) 82. Valora a quien cocina bien (Shiro/Kuro) 83. Querido Dios (SaruMi) 84. Conciencia tranquila (Izumo) 85. Papacito (Izumo/Seri) 86. Nadie te obliga (Izumo/Seri) 87. Mate con calor (Seri/Totsuka) 88. Migajas (Kuro/Neko) 89. Mosquito (MikoRei) 90. ¡Oh, no! (MikoRei) 91. Adicto a Netflix (Totsuka) 92. Calor insoportable (Grupal) 93. Amarre (Shiro/Neko) 94. Nuevo amor (Seri/Izumo/Zenjo) 95. Cómetelo (Seri/Izumo) 96. Comiendo lo ajeno (Seri/Izumo/Zenjo) 97. Quédate conmigo (Zenjo/Seri) 98. Dale la razón (Izumo/Seri) 99. Mi vida (Izumo/Seri) 100. Bluetooth (MikoRei/Totsuka)

[cdd-swag-bracket]

Just wanna add some more stuff to Mikoto Kayano’s description as I don’t feel it did him justice (is this a tournament or something?). And apologies in advance for this being a bit too long

To be clear, Mido doesn’t actually exist and is a fanon character originating from an older theory. Currently we only know of Mikoto and John in the system. It’s also very unclear who is the actual killer but I’ll elaborate on that more. And in Milgram everyone’s a killer so he’s not the only case here.

I really love Mikoto and John and their story so much.

Mikoto is the host alter and the one considered as the prisoner 009. He’s a people pleaser who obsessed with being normal and acceptable to people. He doesn’t inherently understand social concepts and relationships and tries to force himself into such. His whole social attitude is him deliberately acting that way so people can accept him, such as he doesn’t give people nicknames just because he wants to he it’s that he believes it to be a step in order to interact with people well. He’d do anything to please other people even if it makes him uncomfortable. And this habit is breaking him down on the inside along with being stuck in an abusive job.

His obsession with being normal makes him hate John which is really sad. He feels that having DID would make him weird and crazy and completely erase any sort of efforts he made to be normal and socially acceptable and have him be ostracised by everyone, which is sadly the truth in this current world. Because of this he’s scared of John and projects all his sufferings onto him, that he’s deliberately trying to ruin his life and do all these horrible things just for the sake of it. He even blamed John for attacking Mahiru even though it’s extremely obvious that it was Kotoko who did it. Mikoto saw her as a friend even though she really wasn’t and doesn’t want to believe that she did it so he blamed it on John.

I think Mikoto might’ve actually known he was a system for a while as lots of the lyrics in his first trial song, MeMe, seem to imply this. He wants to know why John is like this and is scared of him. And he’s lying to himself and desperately trying to convince himself that it’s not true. Even acting clueless when Es bought it up despite having attempted to talk to John beforehand.

Now for John, he is the protector alter and isn’t considered to be the prisoner. I absolutely love John so much. He’s obsessed with protecting Mikoto to the point he’s ruining his life, just like Mikoto’s obsession with being normal. He’s extremely paranoid of other people, and believes them all to be out to hurt Mikoto. Because of this, he lashed out and acts violently around them to make himself seem more threatening as for them to not go near Mikoto. This is in direct contrast with Mikoto’s behaviour of wanting to be friends with everyone which John is trying to stop as he’s scared for his safety under the belief that other people are dangerous. Even though he’s trying to protect Mikoto from this he’s actually making things worse for him as this is heavily stressing out Mikoto who’s biggest fear is social rejection and could stop someone reaching out to help him. And John knows this. He’s questioning if he’s truly Mikoto’s saviour and has started to believe that he’s ruined his life, for if only he was never born. But his paranoid mindset is inherently rooted into him so he can’t stop behaving this way.

John’s entire identity revolves around him being Mikoto’s protector, so for this it feels to him as his entire duty in life he had failed. His entire life is focused on Mikoto and he believes he can’t be his own person with hopes and dreams because that’d be getting in the way. He also demonised his DID and believes he can’t be a proper person because of that, and believes his condition is what’s making him violent even though it’s truly not, and just has a strong sense of fight or flight.

For his whole life John has never been treated as a person and never treated himself as such, so when in his second trial voice drama, Neoplasm, when Es wasn’t immediately scared of him when John fronted and started threatening Es, he backed down. This was the first time he wasn’t treated as a monster and because of that he dropped his persona and started to reveal his true self. John is a more stoic and rational person and was confused when Es actually accepted him instead of fearing him. It definitely seems he’s been trying to make an effort not to get angry and violet on an impulse as when he got upset and started yelling at Es, he calmed down and started breathing, and tried to talk in a more calm matter. But because of this he said how he wished he had stayed a monster.

And about the whole murder situation. John desperately tries to convince Es that he’s the killer, claiming he just killed a bunch of random people who annoyed him although this statement is very contradictory. When Es started to get suspicious of his statement John immediately doubled down and tried to convince them that Mikoto is weak and innocent and could never hurt anyone and was basically yelling at Es that Mikoto is completely innocent and that he is the murderer.

Even though the story deliberately makes it unclear who did it this behaviour seems to me as John trying to take the blame for Mikoto, as he wouldn’t want anything bad to happen to him because of that. It’s just a theory and it’s a long one but I believe that Mikoto is the killer, and the trauma from the incident along with his denial coping mechanisms lead him to repress the memory. And in the first trial when Es bought up the idea that he may have repressed the memory he started having a panic attack which caused John to switch in.

I really love how Milgram is treating DID with respect in Mikoto’s story and how the murder wasn’t because of his condition, but the result of the situation he was in and all the trauma he was going through, a murder which anyone could commit. There’s also a time where it was implied that they were co conscious in the second trial interrogation questions where at one time the handwriting started changing a lot and becoming more shaky in a style that didn’t fit either Mikoto or John’s regular handwriting. And there was one answer which heavily implied he was disassociating while writing. Mikoto’s story is one that’s easily misunderstood and may initially lead people to believe that Mikoto is the poor victim and John the evil perpetrator. But it makes a lot more sense when you realise that that’s their perspectives and is influencing the narrative. Ah- I might’ve gone on for too long about this I’m just really normal about them ok.

Alright I added a very slightly abridged version of what you said onto the post. Also yeah it's a tournament, it just hasn't been started yet.

[gatutor]

Juan Luis Galiardo-Geraldine Chaplin "Stress-es tres-tres" 1968, de Carlos Saura.

[goldenliartrash]

@marga-manso thanks for asking again!!! :) Sorry this one took so long lmao when I tried to post it the first time Tumblr ate it 🤡

🍰: What's something your OC counts as unforgivable?

Besarte con Lola Mendieta Que alguien se meta con su hermana. Nicolás tiene bastante capacidad de perdonar cosas, especialmente las que le hacen a él, gracias a su habilidad de ✨ bloquear el recuerdo y no pensar en ello nunca más✨; pero no tolera que absolutamente nadie maltrate a Ana. Es una persona adulta doxxeando a niños de 12 años por decirle algo feo a Ana en el lobby del Fornite. 1 poco mentally ill behavior pero le quiero mucho igualmente.

🍾: Does your OC believe in luck? If so, do they have any charm or ritual they do before a stressful event?

No realmente? Más allá de la convención social (desear suerte, quejarse de estar gafado, etc.) no cree que la suerte exista. Pero es alguien que cree en el destino y en la aleatoriedad impasible del universo al mismo tiempo así que 🤷. Tiene algunos cuantos tics nerviosos (pulsar compulsivamente el botón de un bolígrafo retráctil, abrir y cerrar horquillas...), pero ningún ritual como tal.

🍹: Does your OC have any funny anecdotes told about them?

Su madre tiene aproximadamente un millón de ellas pero su favorita es como, cuando Nicolás era pequeño, su juego favorito era imitar a su padre. Nunca dejará de hacerle gracia recordar cómo su hijo, de tres o cuatro años, se vestía con la chaqueta más formal que podía encontrar en su armario, se dibujaba un maletín en un folio y un reloj inquietantemente acertado en una muñeca, y se disponía a marchar por la casa proclamando lo tarde que llegaba al trabajo o lo inútil que era su jefe. Algunas cosas nunca cambian :)

[rgr-pop]

I do have a lot of options for Spain and am leaning toward showing Stress-es, tres-tres but what I think my heart wanted was to find like a Civil War era nationalist satirist (love that the right had that) who would go on to make legal thrillers after neorealism or something, all of the nationalist educated filmmakers who would stay til Franco died and be celebrated outside of Spain pretty much managed on the classic “fascists don’t understand metaphors” tactic. I think that Saura will be a good way to think about fascist Spain alongside uneven development Italy (hoping that democracia is animated in some way that is different from (il) comunismo). But anyway it would be rude to Spain not to watch a movie about bourgeois couples because we’ve been watching everyone else’s movies about bourgeois couples

[belgiumdriverserviceswe]

Transfert à l'aéroport en minivan et service de transfert VIP en Belgique

Voyager peut ￪tre une t￢che ardue, surtout lorsqu'il s'agit de transferts a￩roport. Avec d'innombrables options disponibles, trouver un service de transfert fiable et confortable est essentiel. En Belgique, Belgium Driver Services se distingue par son engagement ￠ fournir des services de transfert en minivan et VIP de premier ordre. Que vous voyagiez pour affaires ou pour le plaisir, leurs services exceptionnels garantissent un trajet fluide vers l'a￩roport.

Pourquoi choisir un minivan pour les transferts aéroportuaires ?

Les minivans sont un choix id￩al pour les transferts a￩roportuaires, en particulier pour les groupes ou les familles. Avec des int￩rieurs spacieux et des si￨ges confortables, ils offrent suffisamment d'espace pour les bagages et les passagers. Belgium Driver Services propose une flotte de minivans modernes, ￩quip￩s des derniers ￩quipements pour am￩liorer votre exp￩rience de voyage. Les chauffeurs professionnels sont form￩s pour donner la priorit￩ ￠ la s￩curit￩ et ￠ la ponctualit￩, vous assurant d'arriver ￠ l'a￩roport d￩tendu et ￠ l'heure.

L'un des principaux avantages du choix d'un transfert en minivan est la flexibilit￩ qu'il offre. Que vous ayez un vol t￴t le matin ou une arriv￩e tard le soir, Belgium Driver Services fonctionne 24 heures sur 24, s'adaptant ￠ votre emploi du temps. Leurs chauffeurs surveillent les arriv￩es et les d￩parts des vols, ce qui leur permet d'ajuster les heures de prise en charge si n￩cessaire, offrant ainsi une tranquillit￩ d'esprit au milieu des incertitudes du voyage.

Découvrez le luxe VIP avec Belgium Driver Services

Pour ceux qui recherchent une exp￩rience plus luxueuse, Belgium Driver Services propose ￩galement des services de transfert VIP. Ces services offrent un niveau ￩lev￩ de confort, d'intimit￩ et d'exclusivit￩. Les passagers peuvent profiter de si￨ges moelleux, de rafra￮chissements gratuits et d'un chauffeur d￩di￩ qui r￩pond ￠ tous vos besoins. Ce service est parfait pour les voyageurs d'affaires ou toute personne souhaitant faire une impression durable.

Le service de transfert VIP va au-del￠ du simple transport ; il offre une exp￩rience compl￨te. D￨s la r￩servation de votre trajet, vous recevrez un service personnalis￩ adapt￩ ￠ vos pr￩f￩rences. Que vous ayez besoin d'un type de v￩hicule sp￩cifique ou que vous ayez des demandes sp￩ciales, Belgium Driver Services s'assure que chaque d￩tail est pris en charge.

Conclusion

En mati￨re de transferts a￩roportuaires en Belgique, choisir Belgium Driver Services garantit un voyage fiable et confortable. Leurs services de minivan et de transfert VIP r￩pondent ￠ une vari￩t￩ de besoins, ce qui en fait le choix pr￩f￩r￩ des voyageurs. En mettant l'accent sur la s￩curit￩, la ponctualit￩ et la satisfaction du client, Belgium Driver Services rend votre exp￩rience de transfert a￩roport agr￩able et sans stress. R￩servez votre transfert d￨s aujourd'hui et voyagez en toute confiance, sachant que vous ￪tes entre les mains de professionnels d￩di￩s ￠ fournir le meilleur service possible.

Pour plus d'informations :-

Transfert ￠ l'a￩roport en minivan

Service de transfert VIP Belgique

[ax-reticule]

OC Profile -  Sister Adelaide Sonnier

General

-Name: Sister Adelaide Sonnier -Nickname(s)/Alias(es): Big Sis, AX Codename Reticule, Addy -Age: Twenty-seven -Gender: Female -Date of Birth: 3033 AD -Astrological Sign: Taurus -Birthplace: Franc Kingdom -Species/Race: Human -Language(s) spoken: French [Native], Italian, Latin, some Imperial -Occupation: Nun, AX Agent, Choir director -Sexual Orientation: Pansexual -Social Status: Ambivert -Relationship Status: Single -Status: Alive

Appearance

-Body Type: Ectomorph, long-limbed with slight muscular definition. -Height: 5′8′’ -Weight: 145 lbs. -Skin Color: Medium olive. -Hair/Fur Color: Light blonde. -Eye Color: N/A -Distinguishing Features: A pair of cybernetic pieces replace her organic eyes. There is heavy scarring around her eye sockets.  -Attire: A variation of the male cassocks. All black with silver and steels detailing. A short caplet that hangs midway between her shoulder to her elbow. Her boots reach up to the knee and buckle to the sides, a plate of steeled armor on each knee as well as her left shoulder.  -Accessories: A rosary hangs from her neck with her own cross; a silver fleur de lis cross with a cog and reticle set at the center. She keeps dark, round sunglasses on her person to wear in public to mask the full appearance of her “eyes”.

Health

-General health: Slightly above average. Adelaide likes to keep up her stamina and likes to run a lot and excels in agility courses. Unfortunately she has picked up on smoking in recent years and has noticed a small toll it’s had on her lung capacity, she’s taken to chewing gum to try to kick the habit.  -Any physical illnesses?: N/A -Any mental illnesses?: PTSD -Other: Adelaide was born blind. She gained the ability to see from her enhancements when she was sixteen. 

Mental/Emotional State

-Archetype: Innocent, Everyman, Outlaw -Alignment: Lawful Good -Thinking Type (Emotional or logical?): Emotional -Emotional-wise: Adelaide tries to keep a level-head and be logical in most situations. She needs a steady hand to pull the trigger in stressful situations. She comes off as emotionally detached and distant, she’s not the best at displaying expressions. Although a typically patient woman, there are certain things that can set off her temper; harming children, or being referred to as “robotic”. 

Traits

-Likes: Birds, bells, target practice, opera, sparkling water, whistling, parkour, children, people who aren’t frightened by her appearance, choir, heights, bubble gum. -Dislikes: Having maintenance done on her “eyes”, sour candies, dresses. -Hobbies: Bird watching, people watching, mimicking bird calls, shooting ranges, running, singing. -Habits: Popping or blowing bubbles with her gum, smoking, needing to physically map out of location. She will walk around a room to touch the furniture and mentally note the distances between objects.  -Strengths: Exceptional sight, can focus her optics to see clearly at distances eight times of the average human. Sniping is her preferred position or simply being used for recon. She has a great sense of proximity, being able to sense presences that are close even if they’re not within her range of sight. She’s fast on her feet and good at climbing to put distance between herself and an enemy.  -Weaknesses: Strong electromagnetic fields can temporarily shut down her optics. She’s not physically strong and would struggle in hand-to-hand combat.  -Skills/Abilities: Sniping from great distances with accuracy. Her optics have the ability to record, as well. They play back at her command as a projection.  -Secrets: She’s jealous of Tres. She doesn’t think it’s fair that he gets to look “more human” than she does. -Fears: Not being able to protect those in need, innocents being lost to war, large bodies of water, doctors, Methuselah.  -Goals: To fulfill her “divine” purpose and earn forgiveness. 

Favorites

-Food: Aligot -Color: Blue -Animal: Citril Finch -Holiday: All Saints’ Day -Season: Spring -Type of art: Neoclassical -Genre of music: Opera -Genre of literature: Fairytale -Genre of shows: N/A -Genre of movies: N/A

Personality Traits

Distant, moralistic, empathetic, persistent, reliable, stubborn, tactless, jealous, fair, faithful, selfless, dogmatic.

Relationships

TBD

Biography

Bishop Donadieu had a long history with the Vactican, originally joining their ranks out of college to join the Department of Inquisition to aid in their weaponry. While particularly skilled with electronics, he boasted a doctorate in biochemical engineering and sought to use lost technology to "better" human bodies. It was his belief that this was the key to surpassing the Methuselah. He was eventually dismissed of his position and he fled Rome to the far side of Franc, taking up the empty opening of a congregation needing a leader. His cover was working well and he was able to slowly instill his ideas within the people of their region. One morning, he found a newborn placed on the steps of his church. Born of an impoverished young couple of a farm from a neighboring village, Adelaide never got the opportunity to meet her biological family. Frightened of the expenses a child with total blindness would cost them, Adelaide was left in a basket with nothing but a blanket. It was Bishop Donadieu that gifted her name and built a place within the Church for her to stay. The event inspired him, leading to an addition to the building and more children brought underneath his wing. Kindred Hearts All Girl’s Orphan Home.    In her youthful years, Adelaide developed a keen ear for sound. Her favorite past times were climbing into the church rafters, despite the scolding of the Sisters watching over her, to hear the bells more closely. She taught herself to mimic the birds that she would often hear, memorizing each by sound, and eventually her fascination travels to the human voice. The young girl became involved with the choir. Papa, however, saw different potential in her. Her skills could be honed to make a soldier. When she wasn't looking after the girls and running the choir, her free time begins to dwindle away with more responsibilities and training.     On her sixteenth birthday Papa offered Adelaide a gift; a chance at sight and to become his first living test subject. Much to his surprise, Adelaide had rejected the proposition. She was content with her existence and saw no reason to change herself.     Negating her request, Papa carried on with the surgery regardless. It was, in his mind, a huge success. With the gift of sight also came a great resentment. Adelaide was furious about what he had done to her, but over time he eventually convinced her that her gift was all part of God’s plan. She had a purpose and a duty and he simply gave her the tools to carry it out.     Adelaide stayed with the Orphanage, even after she came of age she took on the role of a caretaker and an underling to Papa’s demands. The young nun had one request in exchange for her service: she would be his last project.      Years of servitude pass and all seems to be going well. For the sake of secrecy, Adelaide is kept hidden from most outsiders with the exceptions of Papa’s inner circle and the children that she cares for. She becomes more antiquated with her “gifts” and all their capabilities, and training herself to use them in a way that her Papa deems appropriate. Watching from the rooftops in the late hours of the night, Adelaide promises to be a protector of their home.      A string of disappearances of girls from the orphanage puts their home on high alert. Papa has convinced all that this is the beginning of the vampire’s invasions. This is when AX is sent to intervene and Adelaide makes her unfortunate discovery. All the missing girls had been located, suffering a fate similar to their dear sister Addy, but the outcome had not been so favorable for them.      Being convinced to not deal the killing blow to her former father figure, Adelaide agrees instead to testify against him. Left feeling defeated, she decides to take this as an opportunity to find a new purpose. She had a gift to use, however, it needed to be redirected. Sister Adelaide transfers to Rome and offers her services up to the Papal State Affairs Special Operations Section.

[tecnochilldren-pt-2]

I don't care

(No me importa)

I'm like, what now?

(Soy como lo que soy ahora)

Insult me, I'm like no, ow

(Insúltame, no soy como un "ow")

In a hot springs, no towel

(En aguas termales, sin toalla)

Adiós, baby

Bye, ciao

I don't care

(No me importa)

I'm like, what now?

(Soy como lo que soy ahora)

Insult me, I'm like no, ow

(Insúltame, no soy como un "ow")

In a hot springs, no towel

(En aguas termales, sin toalla)

Adiós, baby

Bye, ciao

Shoulda', coulda', woulda' done a lot

(Debería haber hecho mucho más)

That's in the past that I've forgot

(Eso es en el pasado que he olvidado)

Shoulda', coulda', woulda' done a lot

(Debería haber hecho mucho más)

That's in the past that I've forgot

(Eso es en el pasado que he olvidado)

Three steps forward

(Tres pasos adelante)

Five steps backs

(Cinco paso atras)

Why you got to stress the past?

(¿Por qué tienes que estresar el pasado?)

Why don't we assess the facts?

(¿Por qué no evaluamos los hechos?)

Why you got to stress the past?

(¿Por qué tienes que estresar el pasado?)

I am just a freak

(Solo soy un fenómeno)

Love to watch you when you sleep

(Me encanta verte cuando duermes)

We don't got to make it deep

(No tenemos que hacerlo profundo)

I'll count the money

(Contare el dinero)

You count the sheep

(Tu contaras las ovejas)

See, I just wanna do right by you

(Mira, sólo quiero hacer lo correcto por ti)

For a life, like Gotti in '92

(Por una vida, como Gotti en el 92)

Let's not make it conflict

(No vamos a entrar en conflicto)

'Cause your stressed 'bout your income checks

(Porque estás estresando a tu propia conciencia)

I don't care

(No me importa)

I'm like, what now?

(Soy como lo que soy ahora)

Insult me, I'm like no, ow

(Insúltame, no soy como un "ow")

In a hot springs, no towel

(En aguas termales, sin toalla)

Adiós, baby

Bye, ciao

I don't care

(No me importa)

I'm like, what now?

(Soy como lo que soy ahora)

Insult me, I'm like no, ow

(Insúltame, no soy como un "ow")

In a hot springs, no towel

(En aguas termales, sin toalla)

Adiós, baby

Bye, ciao

Adiós, baby

Bye, ciao

Adiós, baby

Bye, ciao

Adiós, baby

Bye, ciao

Adiós, baby

Bye, ciao

Adiós, baby

Bye, ciao

Bye, ciao

Bye, ciao

[ghostie-jakxy-gray]

Translating Amparo Dávila's "el huesped" into Vaakre: Part 1

first four paragraphs woo! I'm putting the Vaakre first, then the spanish it's translated from for comparison, then notes.

Vai, ank xakahcet alpe wektay par ue-al amer ne taelmek. Ne duae kehf ne atkone vai amer retuef-tarie. 

Egao-wek, ya aurs ne duae suadr arre wek-ponuc-vai, aurs neadr ayasai eee ne va ji-enfiretchne. Par ne duae ne taele eriead vikah tiore, alpe bihlce evtroe vai, xa kahcet dai xa ank tal ne. Egao-wek, ne taelmek vai nijke-ut vai - saúra e yamawa e vai va ahkahrer dai ánk, eee xa kehf xa gaos vai. Ne egao-wek taelmek ae xa dai libire*, e ae xa adurabayo tal aetrester par aeto.

(*so-so-do melody attached)

Dai nuc’yelum par linme, evtroe ue-al par wektay ane. Cikravpre dleram, fahriyn.  Hrap nuc eyrs sltiashr, vikah bayon ee xa hvetsl, evtroe vackuras nokbayo ya csilore - vikah vai e meire. 

Ne vitaele bilhce reasein fahriyn limuygul. Nishmuya egae-wek ue-al amer, palltei ne duae xa vai tal ue-al vai, par vikah puinoh. Dai xa ateirwe airmee; ne esah valiyhauh e pulihrk. “Retuef-al feinehr tauszo” ne duae dai, ci’prav nartatro eee evtroe nuc tal airmee. “Ta esah bilhce ya ne vai, ee ke kaena ta va erhas…” ank ne dai ne duae dai par ue-al xareactui. Ue-al vai ne taelmek.

~~~~

Nunca olvidaré el día en que vino a vivir con nosotros. Mi marido lo trajo al regreso de un Viaje.

Llevábamos entonces cerca de tres años de matrimonio, teníamos dos niños y yo no era feliz. Representaba para mi marido algo así como un mueble, que se acostumbra uno a ver en determinado sitio, pero que no causa la menor impresión. Vivíamos en un pueblo pequeño, incomunicado y distante de la ciudad. Un pueblo casi muerto o a punto de desaparecer.

No pude reprimir un grito de horror, cuando lo vi por primera vez. Era lúgubre, siniestro. Con grandes ojos amarillentos, casi redondos y sin parpadeo, que parecían penetrar a través de las cosas y de las personas.

Mi vida desdichada se convirtió en un infierno. La misma noche de su llegada supliqué a mi marido que no me condenara a la tortura de su compañía. No podía resistirlo; me inspiraba desconfianza y horror. “Es completamente inofensivo” —dijo mi marido mirándome con marcada indiferencia. “Te acostumbrarás a su compañía y, si no lo consigues…” No hubo manera de convencerlo de que se lo llevara. Se quedó en nuestra casa.

~~~

Translation choices:

First off I'm not starting the entire piece with a proper tonesetting, because if I wrote it out we would have a paragraph straight of "vai vai vai vedrai vai vedrai tihas" and nobody wants that. A single vai works in this case.

This is... primarily Balkour vaakre, for no other reason than I prefer writing it, and this is my stress relief translation. As such, ci'prav is used in place of cikravpre, and second-person-pronouns are geography-ized, and a few other things like that.

The guest is a "ue-al" second person for a couple reasons - first off being the... vague sort of communications disconnect between Northern and Eastern Balkour? They aren't fighting but there's a bit of historical separation, so a Northern storyteller might emphasize the distant ominous nature of the guest by using an overly-formal (double-emphasized) Eastern You. [the husband's use of "ta" clues us in that they're Northern Balkour]

duae for the husband instead of a more formal laume, one part because it's a more Balkour term, and one part because we're starting this story with a general... not-fully-hostility to the guy? Bear with me, okay I'm emphasizing the thematic difference between the husband and the stranger at the start by using the more endearing term for the husband at the start of the story, this will change.

Taelmek for the house as opposed to Virechek to emphasize that the house doesn't feel like the speaker's proprietary domain.

what else... the "libire" with so-so-do melody is reference to the Coupatre paier, so it's not saying the town is literally sickly but that it's just slowly fading into unpassable territory.

There's probably more but I can't think of it, so that's all for this installment!

(Obviously I am not doing the google translate "word for word translation" translation)

-Jakxy

[alex-y-antwone]

La introducción

Alex:

¡Hola! Mi nombre es Alex y el tema de este blog es el impacto e influencia de las telenovelas en el mundo. En términos de psicología, el consumo de medios es muy interesante para mí porque puede influir en gran medida en cómo piensa la gente. Por ejemplo, las redes sociales pueden hacer que los espectadores adopten hábitos similares de sus ídolos, y de la misma manera, las telenovelas pueden contribuir a un cambio de identidad, especialmente entre las generaciones más jóvenes. En nuestro mundo, donde este tipo de medios se consumen cada día, estas cosas realmente necesitan ser discutidas seriamente. 

El politólogo Harold Lasswell en 1948, citó que la televisión tiene tres funciones: 1. Vigilancia: capacidad de supervisión de ideas, 2. Correlación: capacidad de transmitir ideas que están en correlación con lo que quieren los medios, y 3. Transmisión del patrimonio cultural de una generación a otra. Esto es también válido hoy, pero en hoy, hay una cuarta función: el entretenimiento. Por eso tanta gente ve la televisión, especialmente en los tiempos modernos de estrés y trabajo. En la década de 1990 y luego en el siglo XXI, muchas telenovelas eran transmitidas en todo el mundo, en Europa, en Rusia, y luego, en Asia y África. Las telenovelas son programas de televisión que incorporan un gran tema de romance y drama, y suele tener un final feliz. Estas programas usualmente expresan sobre cómo perder el amor y luego encontrar el amor. Estos programas son extremadamente comercializables ya que solo duran unas pocas temporadas por historia o arco. Estos aspectos aseguran que la audiencia quiera constantemente descubrir todos los giros de la trama y la historia. Un productor de “Encrucijada: Sin Salud No Hay Nada”, Jesus Fuentes, dijo que los espectadores de telenovelas se encuentran con los personajes que ven. Esta resonancia es un componente del éxito de las telenovelas y sus influencias en el mundo. 

En este blog, hablaré de países específicos y la influencia de las telenovelas en los. Cada entrada será un país diferente. Siento que de esta manera me permitirá la mayor libertad en términos de investigación. Me encantaría entender más sobre este tema difícil y elusivo. ¿Cuáles son las diferencias en el consumo de las telenovelas en diferentes países en el mundo? ¿Hay diferencias en los países latinoamericanos versus otros países o no? ¿Cómo influyen las telenovelas en la economía? ¿Cuánto dinero ganan estos programas? ¿Cuáles son los factores de salud y adicción de las telenovelas? ¿Hay algún peligro? ¿Cuál es la influencia de las telenovelas en los niños de estos países? ¿Implicaciones sociales? ¿Y la historia muy grande y complicada? 

Para discutir estos temas, es fundamental y muy crítico mantener una mente abierta y aprender cosas nuevas. La influencia de los medios tiene muchas complicaciones y es fundamentalmente un tema difícil de discutir. Con una mirada crítica y académica, nosotros podemos entender la realidad, lo más cerca posible de la realidad. 

Fuentes: 

https://www.britannica.com/topic/reality-TV https://studyfinds.org/life-today-far-more-stressful-than-it-was-the-90s-especially-middle-aged-folks/

Antwone:

¿Qué es una telenovela? Una telenovela es una serie dramática de televisión o radio que trata típicamente de eventos cotidianos en la vida del mismo grupo de personajes. Las telenovelas crecieron a partir de radionovelas, segmentos de radio de 15 minutos que se transmitieron por primera vez en la década de 1930 En la década de 1950, una programación similar debutó en televisión en segmentos de 30 minutos que luego se extendieron a una hora completa. Tradicionalmente dirigidos a amas de casa, estos primeros programas generalmente se transmitían durante el día, y sus historias se escribieron para los espectadores de clase media. 

Como grupo, los hispanos siguen siendo uno de los segmentos de la población más desfavorecidos, de escasos recursos y menos saludables del país. Las telanovelas pueden ayudar a los Estados Unidos a solucionar este problema. El primer paso para solucionar un problema es concienciar a la gente de que hay un problema, y las telenovelas pueden mostrarle a la gente dentro y fuera de la comunidad hispana que hay un gran problema

Al igual que otras formas de televisión, las telenovelas pueden compartir un mensaje importante con el público y enseñar a sus televidentes lecciones de vida. Por ejemplo, el año pasado los estudiantes de la Universidad de Houston se despertaron en producir telenovelas con un mensaje importante: Crear conciencia en la comunidad hispana sobre el riesgo de la enfermedad de Alzheimer. Recuerdos de Mi Abuelo es una telenovela de cinco episodios producida por un estudiante de la Universidad de Houston, cuyo objetivo es ayudar a la comunidad hispana de Houston con una historia que le da a la gente una comprensión de los riesgos y las señales de advertencia de la enfermedad de Alzheimer. La telenovela corta es una historia de una familia que se adapta al cambio a medida que su abuelo se da cuenta lentamente de que puede estar exhibiendo signos de Alzheimer.

Otra telenovela estadounidense, Encrucijada: Sin Salud no Hay Nada, fue producido en 1970 y también habla sobre temas de salud hispanoamericanos. En la telenovela, el dramático pasado de Alicia y su angustioso futuro están entrelazados con cosas más básicas, como la importancia de visitar al médico regularmente, detectar el cáncer en sus primeras etapas y planificar la atención al final de la vida. La temporada de ‘pruebas’ del programa abordó muchos problemas de salud, desde diabetes hasta melanoma y atención dental, con cada historia diseñada para entregar mensajes de salud pública a una audiencia difícil de alcanzar.

Fuentes:

[geraudbenoit]

Se Guérir avec l'Astrologie : L'Art de l'Autoguérison à Travers les Étoiles

L'astrologie est bien plus qu'une simple m￩thode de divination ; c'est une voie vers l'auto-connaissance, l'acceptation de soi et, selon certains adeptes, m￪me la gu￩rison. Dans cet article, nous explorerons la pratique de l'auto-gu￩rison ￠ travers l'astrologie, qui consiste ￠ utiliser la sagesse des ￩toiles pour comprendre et am￩liorer notre sant￩ physique et mentale.

1. L'Énergie des Étoiles et la Santé :

L'astrologie postule que les positions et les mouvements des plan￨tes et des ￩toiles ont une influence sur notre vie, y compris notre sant￩. Chaque signe du zodiaque est associ￩ ￠ diff￩rentes parties du corps, ce qui cr￩e un lien entre notre constitution astrologique et notre bien-￪tre physique.

2. Les Maisons Astrologiques :

Les maisons astrologiques repr￩sentent diff￩rents aspects de notre vie, y compris la sant￩. En examinant les plan￨tes situ￩es dans la maison de la sant￩ d'un individu, un astrologue peut identifier les domaines qui n￩cessitent une attention particuli￨re pour maintenir ou r￩tablir l'￩quilibre.

3. Les Signes et les ￉l￩ments :

Les signes astrologiques sont li￩s ￠ des ￩l￩ments tels que le feu, la terre, l'air et l'eau, chacun ayant ses caract￩ristiques particuli￨res. Par exemple, les signes de feu comme le B￩lier, le Lion et le Sagittaire sont associ￩s ￠ une ￩nergie vive, tandis que les signes de terre comme le Taureau, la Vierge et le Capricorne sont li￩s ￠ la stabilit￩. Comprendre son propre signe et ￩l￩ment peut aider ￠ adapter son style de vie pour favoriser la gu￩rison.

4. Les Transits Planétaires :

L'astrologie tient compte des transits plan￩taires, qui sont les mouvements des plan￨tes ￠ travers le zodiaque. Certains transits peuvent indiquer des p￩riodes de stress ou de vuln￩rabilit￩ pour la sant￩, tandis que d'autres peuvent pr￩sager des moments propices ￠ la gu￩rison et ￠ la r￩g￩n￩ration.

5. Pratiques de Guérison Astrologique :

L'astrologie peut ￪tre utilis￩e pour orienter des pratiques de gu￩rison telles que la m￩ditation, la chromoth￩rapie, la lithoth￩rapie, et m￪me des approches holistiques comme l'acupuncture. En choisissant des couleurs, des cristaux, ou des th￩rapies align￩s avec les ￩nergies astrologiques, certaines personnes estiment renforcer leur bien-￪tre.

6. Auto-Connaissance et Acceptation :

L'auto-gu￩rison ￠ travers l'astrologie ne se limite pas aux aspects physiques. C'est aussi une opportunit￩ d'explorer votre monde int￩rieur, de comprendre vos forces et vos faiblesses, et d'accepter votre unicit￩. L'acceptation de soi est souvent le premier pas vers la gu￩rison.

7. Consultation d'un Professionnel de l'Astrologie M￩dicale :

Pour une approche plus pr￩cise de l'auto-gu￩rison astrologique, il peut ￪tre judicieux de consulter un astrologue m￩dical certifi￩. Ils peuvent interpr￩ter votre carte natale et fournir des conseils sp￩cifiques sur la mani￨re d'adapter votre mode de vie, de pr￩venir les probl￨mes de sant￩, et d'am￩liorer votre bien-￪tre.

Conclusion :

L'auto-gu￩rison ￠ travers l'astrologie est une pratique qui m￪le la sagesse des ￩toiles ￠ notre recherche de bien-￪tre physique et mental. Bien que cette approche puisse ne pas ￪tre une solution universelle, elle peut offrir une nouvelle perspective sur votre sant￩ et votre vie. En comprenant les liens entre l'astrologie et votre bien-￪tre, vous pouvez vous engager sur un chemin d'auto-connaissance, de gu￩rison, et d'acceptation de vous-m￪me, ￠ travers les ￩toiles qui veillent sur vous.

For More Info :-

se guérir avec l'astrologie

services d'astrocartographie

consultation astrologique en France

thème natal astrologie évolutive