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Funny things found on tumblr. :)
- spanish and italian: So THESE words are feminine and THESE words are masculine, and you ALWAYS put an adjective AFTER the noun.
- french: haha i dont fuckin know man just do whatever
- german: LET’S ADD A NEUTRAL NOUN HAHA
- english: *shooting up in the bathroom*
- gaelic: the pronunciation changes depending on the gender and what letter the word starts and ends with and hahah i dont even know good fucking luck
- polish: here have all of these consonants have fun
- japanese: subject article noun article verb. too bad there’s three fucking alphabets lmao hope your first language isn’t western
- welsh: sneeze, and chances are you’ve got it right. idfk
- chinese: here’s a picture. draw it. it means something. it can be pronounced four different ways. these twenty other pictures are pronounced the same but have very different meanings. godspeed.
- arabic: so here’s this one word. it actually translates to three words. also pronouns don’t really exist. the gender is all in the verb. have fun!
- latin: here memorize 500 charts and then you still dont know what the fuck is happening
- sign language: If you move this sign by a tenth of an inch, you’ll be signing “penis”
- russian: idk man its pronounced like its spelt but good fucking luck spelling it
- Greek: so basically we’re going to add 15 syllables to every word you know and assign it one of 3 genders at random. Also good luck figuring out where to put the accents you piece of shit
A troubling situation for women around the world. No thanks to religion. :P Go here for a bigger version, thank you NeuroNotes.
A fine video by QualiaSoup.
Ludwig van Beethoven’s Piano Sonata No. 7 in D major, Op. 10, No. 3, was dedicated to the Countess Anne Margarete von Browne, and written in 1798. This makes it contemporary with his three string trios of opus 9, the violin sonatas of opus 12 and the violin romance that became his opus 50 when later published. (The year also saw the premiere of a revised version of his second piano concerto, whose original form had been written and heard in 1795.)
It is divided into four movements:
- Presto – cut time
- Largo e mesto – 6/8 in D minor
- Menuetto: Allegro – 3/4 in D major – G major – D major
- Rondo: Allegro – common time
Susan Brownmiller has a remarkable talent for framing slippery sociological concepts. This quote is from the introduction to her book “Femininity” and it lucidly describes the nature of the viscous catch-22 women experience for the crime of being born female.
“Femininity always demands more.
It must constantly reassures its audience by a willing demonstration of difference, even when one does not exist in nature, or it must seize and embrace a natural variation and compose a rhapsodic symphony upon the notes. Suppose one doesn’t care to, has other things on her mind, is clumsy or tone-deaf despite the best instruction and training? To fail at the feminine difference is to appear not to care about men, and to risk the loss of their attention and approval. To be insufficiently feminine is viewed as a failure in core sexual identify, or as a failure to care sufficiently about oneself, for a woman found wanting will be appraised (and will appraise herself) as mannish or neutered or simply unattractive, as men have defined these terms.
We are talking, admittedly, about an exquisite esthetic [sic]. Enormous pleasure can be extracted from feminine pursuits as a creative outlet or purely as relaxation; indeed, indulgence for the sake of fun, or art, or attention, is among femininity’s great joys. But the chief attraction (and the central paradox, as well) is the competitive edge that femininty seems to promise in the unending struggle to survive, and perhaps to triumph. The world smiles favorably on the feminine woman: it extends little courtesies and minor privilege. Yet the nature of the competitive edge is ironic, as beset, for one works at femininity by accepting restrictions, by limiting one’s sights, by choosing an indirect route, by scattering concentration and not giving one’s all as a man would to his own, certifiably masculine, interests. It does not require a great deal of imagination for a woman to understand the feminine principle as a grand collection of compromises, large and small, that she simply must make in order to render herself a successful woman. If she has difficulty in satisfying femininity’s demands, if its illusions go against her grain, or if she is criticized for her shortcomings and imperfections, the more she will see femininity as a desperate strategy of appeasement, a strategy she may noe have the wish of the courage to abandon, for failure looms in either direction.”
-Susan Brownmiller. Femininity p. 15-16
Never say we don’t care about your intellectual development here at DWR:
See, you’re more knowledgeable already. You’re welcome. :)