Dolly could do the Communist Manifesto but Marx couldn’t do 9 to 5
Aqua Utopia|海の底で記憶を紡ぐ
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@horationalize
Dolly could do the Communist Manifesto but Marx couldn’t do 9 to 5

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Audrey Hepburn in Love in the Afternoon (1957)
Goooood morning limp wristers!!!!!!!
Consonants that could not exist: the grey spaces on the IPA consonant chart
Consonants that could exist, but have not yet been attested: the blank white spaces on the IPA consonant chart
Consonants that could exist but shouldn’t:
ah, the crescent moon….the tasteful sideboob of the lunar cycle,

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were they.......were they waiting for the pope to say it was okay??
the pope is south american is all i'm saying
the origin of the letter 🇦
(from the documentary The Secret History of Writing, 2020)
fruta (y yo a ti)
it is 1601. i am a 13 year old girl living in london. me and my schooling friends ask our parents for a penny go to see william shakespeare’s newest tragedy hamlet. during intermission we meet in the center of the cockpit and talk fervently about how hamlet and horatio are in love and analyze the dialogue from pervious scenes and decide that they are endgame. when hamlet gets stabbed with the poison foil we start screaming. horatio grabs the cup to drink poison and a mix of shock and exhaustion (i have been standing for 4 and a half hours) hits me so hard that and i fucking die right there
I Am Sent Directly To Turbo Hell
fruit (honorific)

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Sociolinguistics 101:
Dialectology 101
Prescriptivism 101
Etymology 101
Raciolinguistics 101
Semantics 101
Grammatical Tense 101
Referential Inscrutability
Syntax 101
Variable Rhoticity 101
Phonology 101
Classical Philology 101
Language Preservation 101
I’m rereading Les Mis and— I just realized that the chapter where Valjean is first introduced is a parallel to the chapter where he picks up Cosette at Thenardier’s inn. ;_;
In both scenes, a mysterious stranger with tattered clothes enters an inn. The innkeepers lie that there is no room for him, and the mysterious stranger (Valjean) says he will pay to sleep in the stable. During both introductions, Valjean is referred to only as “the traveller,” or “the man,” or “the stranger.”
The main difference is how the scenes end. In Valjean’s introduction, the host has discovered that he is a convict. So he refuses let him sleep in the stable, and orders him to leave the inn:
“You have money—”
“Yes,” said the man (Valjean).
“And I,” said the host, “have no room.”
The man resumed tranquilly, “Put me in the stable.”
“I cannot.”
“Why?”
“The horses take up all the space.”
“Very well!” retorted the man; “a corner of the loft then, a truss of straw. We will see about that after dinner.”
(…..)
The man seated himself again, and said, without raising his voice, “I am at an inn; I am hungry, and I shall remain.”
Then the host bent down to his ear, and said in a tone which made him start, “Go away!”
Valjean’s conversation with Thenardier begins in a very similar way:
Thenardier exclaimed:—
“Ah! see here, my good man; I am very sorry, but I have no room left.”
“Put me where you like,” said the man (Valjean); “in the attic, in the stable. I will pay as though I occupied a room.”
“Forty sous.”
“Forty sous; agreed.”
“Very well, then!”
“Forty sous!” said a carter, in a low tone, to the Thenardier woman; “why, the charge is only twenty sous!”
“It is forty in his case,” retorted Thenardier, in the same tone. “I don’t lodge poor folks for less.”
But then Valjean begins giving Cosette presents, and Thenardier begins to suspect that Valjean is secretly an Aristocrat or something– a “threadbare millionaire.” So he refuses to let Valjean sleep in the stable and instead makes Valjean take the most opulent room in the inn (so that he can charge him more money for his stay.)
“Well!” said the stranger, “you are right. Where is your stable?”
“Sir!” exclaimed Thenardier, with a smile, “I will conduct you, sir.”
He took the candle; the man picked up his bundle and cudgel, and Thenardier conducted him to a chamber on the first floor, which was of rare splendor, all furnished in mahogany, with a low bedstead, curtained with red calico.
“What is this?” said the traveller.
“It is really our bridal chamber,” said the tavern-keeper. “My wife and I occupy another. This is only entered three or four times a year.”
“I should have liked the stable quite as well,” said the man, abruptly.
And like yeah, this obviously a Thing™ about bigotry/classism: the same man who has money to pay for a room is treated differently depending on what class he’s perceived to belong to. The mysterious convict with money for a room isn’t even allowed to sleep in the stable, and is thrown out instead. But the mysterious “millionaire” with money for a room isn’t allowed to sleep in the stable, and is given the opulent “special room” instead.
But my main takeaway from this parallel is that….Valjean is just Tired and wants to Sleep….he’s just so tired…. he just wants a bed anywhere……can people just let valjean rest. can we just give him a break. can we just let him go to bed. my otp is valjean X a good night’s sleep
I’m reading this medieval manuscript and so far this dude has managed to spell “chickens” in the following ways:
chekyns
chekens
chekynnes
chekennes
chykynnes
chykyns
chykens
I’ll keep you updated if I find any more variations
tumblr suggest possible uses for a roman dodecahedron, and it better not be anything i’ve heard before
tiny cage for very small malicious spirit

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Whan that Novembre with his windes colde Hath called out the voteres yonge and olde And maketh hem to stande in lines longe, To signes wave, and eek to singe songes; Whan Georgia hath hirself at laste allyd With Grittye and his cursed staringe eye, And hem that counte hath made the weary weep, The pundites babbel (and a fewe not sleep); Whan eek the Elyphaunte with all his host The trump hath sounden, and hath made his boast, Around yfuckt, and eek hath finden oute, Than longen folk to go to Four Seasouns Total Landscapinge .
Tired of people comparing every forbidden love story to Romeo and Juliet, especially ones about class or racial divides. It’s important to how the story works that the Capulets and Montagues are alike in dignity and that the feud is baseless and petty on both sides. If the Capulets had spent centuries systematically disenfranchising the Montagues, it wouldn’t be Romeo and Juliet. The play relies on both families facing roughly equal losses and being able to make roughly equal apologies and roughly equal reparations. Romeo and Juliet is a play about two kids who weren’t allowed to love in a world full of senseless hatred, and if you give one side a valid reason to hate the other—if either the Capulets or the Montagues are right—it stops being that and starts implying that the opressed have as much to do with the environment of hatred as their opressors do