青龍

Theon III ACOK

Theon I ADWD

It's hilarious when you rewatch these scenes because they're SO obvioussss no wonder Calderon was teasing Armando since the beginning!

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A reblog, that’s all it really takes. There are campaigns on here with tens of thousands of notes — how do you think they got there?

By everyone scrolling past? Complain about morality OCD and compassion burnout all you want. My friend Zeina’s family survived the bombing, but they are not safe.

Even after the so-called ceasefire, their lives are still hanging by a thread. At any moment I am not speaking to Zeina, it is possible that she has no food, no shelter, no safety this is what “after the war” looks like in Gaza.

Think about living with ruins instead of homes, fear instead of stability, and the echo of everything they lost. There’s no “getting used to” that as your constant reality.

Title: Flowers Be With You

Summary:

"You must know you're on a very thin line here, right? You're playing with fire."

"Oh, trust me, Yusuke. I know how to handle fire amongst other things."

"Bullshit. You think you know everything because you're so old but you almost died from being wrong once and you can be again."

"Are you threatening me? A young little thing like you, making threats against me?"

"Um, hey," Kazuma called for their attention as he got back on his feet and dusted off his ass, not that there was much dust in Shuichi's apartment anyway. Everything looked so prim and proper and new. "What's going on? At least explain it to me? I could help."

(Kuwabara Kazuma died young and left his loved ones broken and burdened with irreparable guilt. Kurama disappeared and neither Yusuke nor Hiei knew where he had been until he was found again lurking around a human soul, in search of love. Kurama planned to get what he wanted even if that meant manipulating the very people he loved and finding loopholes in the rules that united the three worlds.)

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Rating: Explicit

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Archive Warnings:

Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence

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Categories:

M/M, Multi, F/M, F/F (mainly Team Urameshi OT4)

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Fandom:

幽☆遊☆白書 | YuYu Hakusho: Ghost Files (Anime & Manga)

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Relationships:

Kurama/Urameshi Yuusuke/Kuwabara Kazuma/Hiei, Urameshi Yuusuke/Yukimura Keiko, Kuwabara Kazuma/Yukina Yukimura Keiko/Yukina (more specific inside certain chapters)

the continued existence of capitalism depends not only on the circuit of production but also the circuit of reproduction. social reproduction is the process by which the working class prepares and maintains itself for the exchange of labor-power for a wage. this can also refer to how the bourgeoisie maintains its power generationally. marx introduced this concept in capital but did not explore it in depth.

there are two scales of social reproduction: day-to-day and intergenerational. the labor pool is replenished via three processes: gestation (having kids), immigration, and slavery.

day-to-day social reproductive labor is usually carried out by women. this includes the work of cooking, cleaning, budgeting, and all the other work that goes into running a household. the wife in a typical nuclear family does this labor unpaid, but many affluent households choose to hire cheap migrant laborers (usually also women) to carry it out for them.

intergenerational social reproductive labor is usually understood as the work of raising children - that's as far as it's been theorized in existing marxist feminist work. but i believe that children are responsible for the bulk of this type of labor. the work of formal and informal education for the dual purposes of developing job readiness and internalizing capitalist norms - it's not recognized as labor by, well, much of anybody but i hope that changes in the future.

one of the key features of capitalist education is establishing the alienation of labor, so that by the time children grow up, they're ready to integrate into a compliant labor force. another key feature of education is maintaining the reserve army of labor, which works to undercut attempts to organize labor or establish worker solidarity. the neoliberalization and globalization of the economy has extended this second feature of education both to adults and previously inaccessible labor markets around the world.

this (unpaid) labor occupies most of childhood and its imperative is reinforced by three pillars: the family, the market, and the state. you could argue for the education system to be considered a fourth pillar since it operates somewhat independently of other state apparatuses, at least in the US. depends on how you look at it. the family, the market, and the state work together (imperfectly, unevenly) to reproduce capitalism.

the family is the smallest unit of social reproduction. the nuclear family form developed around the same time as the industrial revolution and is inextricable from patriarchy, white supremacy, ableism, and all the other -isms we usually talk about. the family form in general developed after the agricultural revolution, as a mechanism for inheriting wealth and maintaining socioeconomic hierarchies. families aren't just a source of violence and coercion; they're also most people's primary source of care and support. but abolishing capitalism also necessitates abolishing the capitalist family form (as stated in the communist manifesto).

family abolition doesn't just mean tearing families apart. it means expanding systems of care so that the family isn't the only place that people can receive it. in their original writing, hegel, marx, and engels all used the word aufhebung to refer to abolition, which is really better translated as "positive supercession." so people should still be able to get care from their families if they like, but it shouldn't be their only option. marx believed that this principle was well represented in the paris commune. i believe that the 2022 cuba family code referendum also provides a great model.

to me (an adult), if a socialist/communist movement is going to last, it requires a thorough analysis of minors as an oppressed class. the continued existence of capitalism depends on the extended disenfranchisement of young people until they internalize capitalist norms and prove themselves capable of capitalist reproduction. this process is absolutely key to establishing the alienation of labor. dialectical analysis of children vs. their parents, children vs. the state, working class children vs. the bourgeoisie is all sorely needed. the thing is that hardly anyone has explored this! marx and engels make some passing references to it, and contemporary marxist feminist theorists like m.e o'brien and susan ferguson incorporate this idea into their analyses somewhat. but nobody that i can find has approached this question comprehensively or systematically. which is why i'm here! writing! a lot!

sources!

the communist manifesto (lol)

the origin of the family, private property, and the state by friedrich engels

capital by karl marx (heinrich's introduction to capital is much more beginner-friendly btw)

marx's 1844 economic and philosophical manuscripts (to understand the theory of alienation, specifically)

childhood in world history by peter n. stearns

social reproduction theory: remapping class, recentering oppression by tithi bhattacharya

family abolition: capitalism and the communizing of care by m.e. o'brien

making workers: radical geographies of education by katharyne mitchell

death of the author is not 'miku wrote this'

I don't think you have to read either essay to grasp the basic concepts

death of the author means that once a work is complete, what the author believes it to mean is irrelevant to critical analysis of what's in the text. it means when analysing the meaning of a text you prioritise reader interpretation above author intention, and that an interpretation can hold valid meaning even if it's utterly unintentional on the part of the person who created the thing. it doesn't mean 'i can ignore that the person who made this is a bigot' - it may in fact often mean 'this piece of art holds a lot of bigoted meanings that the author probably wasn't intentionally trying to convey but did anyway, and it's worth addressing that on its own terms regardless of whether the author recognises it's there.' it's important to understand because most artists are not consciously and vocally aware of all the possible meanings of their art, and because art is communal and interpretive. and because what somebody thinks they mean, what you think somebody means, and what a text is saying to you are three entirely different things and it's important to be able to tell the difference.

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