argumentaive

BTS Reaction | You being scared.

Anonymous said: Hello, how would bts react to girlfriend being scared of them when they are mad/jealous

Anonymous said; BTS reaction to you flinching during an argument

A/N: I decided to combine to two, I hope that’s okay ^-^

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Things We Don’t Mean

Originally posted by ageofimagines

Originally posted by alexnarcissist

Based on Anonymous Prompt: Reader is Tony’s sister but Avengers have no idea and one day while Tony took Pepper to Paris for a weekend, the reader was on the mission and got hurt. She’s in love with Steve but he was mat at her for taking a stupid risk and says something that Peggy wouldn’t do this and the reader realises that Steve would never love her (but he;s in love with her too) so she doesn’t want to see anyone and doesn’t want to scary her brother, but the next day FRIDAY calls Tony and he and Steve have argument

A/N: Ahhhhh sorry I’m so terrible at writing consistently.  I just finished with school for the year though, so that should free up sometime.  I’m actually at the airport right now, heading overseas, so I don’t know what type of wifi access I’ll have or what type of time I’ll be able to use to write, but I will definitely write more when I get back (famous last words).  Depending on how productive I can be in these next few hours of my layover, I might be able to queue up some fics for upcoming weeks…?  Anyway, hope y’all like this one.

Tagging @pleasecallmecaptain@mattymattymerduck@writingbarnes@kissofvenom922@b-orderline@shamvictoria11@callingmrsbarnes@barnes-and-noble-girl@coley0823 @redstarstan @badassbaker @phoebe-21-99@marvelgoateecollection @palaiasaurus64 @melconnor2007

-

The bullet wound doesn’t hurt.  Well, that’s not entirely true.  When you shift or when you try to breathe or when you’re sitting still, the pain shoots through your chest like splinters of glass.

What hurts more is the pointed silence that hangs in the air between you and Steve.

The captain in question is perched gingerly on the chair next to your stretcher, staring straight ahead.  His eyes, normally a soft blue, are hard and flinty.  His jaw is locked, his body radiating tension.

Natasha walks into the med bay, her eyes softening when she sees you.  She walks over, gingerly peeling back the layers of bandages to replace them.

“You’re losing a lot of blood,” she says quietly.

“I’ll be fine,” you reply.  “Nothing I haven’t dealt with before.  How much longer?”

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Mercurio en los signos

Mercurio en Aries
 
Argumenta, gusta de las disputas, habla, contesta. Mente brillante que rápidamente entiende una situación dada. Es muy ingenios y capaz
Debilidades: Es impetuosa y petulante. Impaciente y presurosa, que causa problemas debido a la falta de previsión antes de actuar.

Mercurio en Tauro
 
Es fiel a sus ideas, inmutable, de opinión firme y persistente, pero discreto. Le gusta los placeres que la vida puede ofrecer. Es a veces ingenuo.
Debilidades: Terco, obstinado. Lento para reaccionar.

Mercurio en Géminis
 Rápido y de mente alerta. Adecuado para largas investigaciones. Le gustan los cambios y los viajes, está siempre en la búsqueda de la novedad. Le gusta el movimiento y conmoción. Buena con la palabra hablada. Le gusta escribir.
Debilidades: Demasiado excitable, padece de agotamiento extremo, mental.

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Duelo y Melancolía

“En el duelo, lloramos a los muertos, en la melancolía, morimos con ellos.”


Freud vio tanto al duelo como a la melancolía como formas en que los seres humanos respondemos a la experiencia de una pérdida, ¿pero cómo las diferencia? El duelo involucra la larga y dolorosa labor de separarnos del ser amado que hemos perdido. «Su función», escribe Freud, «es separar los recuerdos y esperanzas de los sobrevivientes de la persona muerta.» El duelo, entonces, es diferente del dolor. El dolor es nuestra reacción a la pérdida, pero el duelo es cómo procesamos este dolor. Cada recuerdo y expectativa ligada a esta persona que hemos perdido debe ser revivida y confrontada con el juicio de que se ha ido para siempre. Éste es el difícil y terrible período en el que nuestros pensamientos regresan perpetuamente a la persona que hemos perdido. Pensamos en su presencia en nuestras vidas, volvemos a recuerdos de momentos que pasamos juntos, imaginamos que los vemos en la calle, esperamos escuchar su voz cuando suena el teléfono. De hecho, los investigadores afirman que al menos un cincuenta por ciento de personas afligidas de hecho experimentan alguna forma de alucinación de la persona amada perdida. Ellos están ahí, obsesionándonos durante el proceso de duelo, pero cada vez que pensamos en ellos, una parte de la intensidad de nuestros sentimientos está siendo fraccionada.

Las acciones cotidianas como ir de compras, caminar en  el parque, ir al cine o estar en ciertas partes de nuestra ciudad de súbito se tornan increíblemente dolorosas. Cada lugar que visitamos, incluso el más familiar, revive recuerdos de cuando estuvimos ahí con la persona que amábamos. Si comprar en el supermercado o caminar por la calle con nuestro compañero nunca habían sido experiencias particularmente especiales, hacerlas ahora se vuelve doloroso. No es sólo el resurgimiento de recuerdos felices ligados a aquellos lugares que importan, sino el hecho de saber que no los veremos ahí nunca más. Incluso las nuevas experiencias pueden volverse angustiosas. Ver una película, ver una exposición o escuchar un fragmento de música nos hace querer compartirlo con aquél que hemos perdido. El hecho de que no esté ahí hace que nuestra realidad cotidiana parezca agudamente vacía. El mundo a nuestro alrededor parece albergar un lugar vacío, un hueco. Pierde su magia.

Con el tiempo, nuestro apego disminuirá. Freud le dijo a uno de sus pacientes que este proceso llevaría entre uno y dos años. Pero no sería fácil. Recaemos, dijo, a causa de cualquier actividad que causa dolor, y así hay «una sublevación en nuestras mentes en contra del duelo.» No pasará automáticamente y tal vez incluso estemos haciendo todo lo posible para resistirnos a ello sin saberlo conscientemente. Si no obstante somos capaces de seguir el proceso de duelo, dicho dolor se volverá menor, junto con nuestros sentimientos de remordimiento y de autorreproche. Nos damos cuenta poco a poco de que la persona que amábamos se ha ido y la energía de nuestro apego a dicha persona se volverá gradualmente menor para que algún día pueda quizás estar vinculada a alguien más. Nos daremos cuenta de que la vida aún tiene algo qué ofrecer.

Freud no se refiere simplemente al duelo aquí. Usa la expresión de «trabajo de duelo», en una frase que recuerda el concepto que ya había introducido en su libro La interpretación de los sueños, «el trabajo de sueño» o «trabajo onírico». El trabajo de sueño es lo que transforma un pensamiento o deseo que quizá tenemos en un sueño manifiesto, complejo. Consiste en desplazamientos, distorsiones y condensaciones, equivalentes al mecanismo del inconsciente mismo. Freud usa el mismo tipo de expresión para hablar del duelo, quizá para indicar que no sólo son nuestros pensamientos sobre la persona amada perdida los que cuentan, sino lo que hacemos con ellos: cómo son organizados, dispuestos, repasados, alterados. En este proceso, nuestros recuerdos y esperanzas sobre aquél que hemos perdido deben ser sacados a la luz en todas las posibles formas en que han sido registrados, como mirar un diamante no sólo desde un ángulo sino desde todos los ángulos posibles, de modo que cada una de sus facetas pueda ser observada. En términos freudianos, debe accederse al objeto perdido en todas sus representaciones variables.

Cuando Freud habla del objeto perdido no quiere decir una persona perdida por la muerte. La frase también puede referirse a una pérdida que sobreviene debido a la separación o el extrañamiento. Aquel que hemos perdido puede aún estar ahí en la realidad, aunque la naturaleza de nuestro vínculo con esa persona haya cambiado. Pueden incluso estar viviendo en la misma casa, o en la misma ciudad, y es claro que el significado de la pérdida dependerá de las particulares circunstancias de cada individuo. El luto es quizá el más claro ejemplo de una pérdida, ya que señala una ausencia real, empírica, pero Freud pretendía que sus ideas tuvieran un alcance más amplio. Lo decisivo será la eliminación de cualquier punto de referencia que ha sido importante en nuestras vidas y que se ha convertido en el centro de nuestros apegos. En el duelo, este punto de referencia no sólo es eliminado, sino que su ausencia está siendo registrada, inscrita indeleblemente en nuestras vidas mentales.


¿Y que hay de la melancolía? ¿Cómo se la distingue del duelo? 


Freud argumenta que mientras que el que está en duelo sabe más o menos que ha perdido, esto no siempre es evidente para el melancólico. La naturaleza de la perdida no necesariamente se conoce a un nivel consciente, y puede igualmente involucrar una decepción o desaire de alguien más como la perdida ocasionada por el dolor, o incluso el colapso de un ideal político o religioso. Si el melancólico si tiene una idea de a quien ha perdido, no sabe, dice Freud, “lo que él ha perdido” en ellos. Este punto brillante complica el panorama simple del dolor. Debemos distinguir entre a quien hemos perdido y lo que hemos perdido en ellos. Y, como veremos, tal vez la dificultad de hacer esta separación es una de las cosas que pueden bloquear el proceso de duelo.

La característica clave de la melancolía para Freud es una disminución en la autoestima. Aunque la melancolía comparte con el duelo tales características como un abatimiento profundamente doloroso, su primer rasgo distintivo es “una baja de sentimientos de autoestima a un grado que llega al pronunciamiento de autorreproches y auto - injurias, y culmina en una expectación delirante por ser castigado “. El melancólico se representa a sí mismo como “pobre, sin valor y despreciable, y espera ser expulsado y castigado”. La melancolía significa que después de una perdida, la imagen de uno mismo es pro fundamente alterada.

El melancólico piensa de sí mismo que no vale ni merece nada. E insistirá en esto con mucha obstinación. Estos comentarios ya ayudan a dividir el panorama clínico. Muchas personas deprimidas se sienten indignas, pero el melancólico es diferente en que puede articular esto sin la reticencia encontrada en otros. De manera similar, muchas personas neuróticas relacionarán sus sentimientos de indignidad o de inutilidad con aspectos de su imagen física: su cuerpo simplemente no está bien, su nariz o su cabello o todo estará mal. Pero el melancólico tiene una queja mucho más profunda. Para el, es la misma esencia de su ser la que es indigna o está mal, no solo sus rasgos superficiales. Donde un neurótico puede volverse intranquilo al tener un pensamiento malo o impulsivo, el melancólico se condenara a sí mismo como una persona mala. Esta es una queja ontológica, concerniente a su existencia en sí misma. Donde la persona neurótica puede sentirse inferior a otras o inadecuada, el melancólico en verdad se acusara a si mismo de inutilidad, como si su vida misma fuera una clase de pecado o crimen. No solo se siente inadecuado: se sabe inadecuado. Hay certeza aquí, más que duda.

Los melancólicos se reprenderán a sí mismos sin tregua por sus faltas. No existe ningún consejo racional o persuasión que pueda detenerlos. Están convencidos de que ellos están equivocados. En contraste con el paranoico, quien culpa al mundo exterior, el melancólico solo se culpa a sí mismo. Freud usa este motif de autorreproche como un rasgo distintivo de la melancolía, apartándola así de muchos otros casos de sentimientos depresivos.

La necesidad del melancólico de reprenderse a sí mismo intrigaba a Freud. ¿Por qué esta insistencia en culparse a sí mismo? ¿Pudiera ser que cuando el melancólico estaba tan ocupado culpándose a sí mismo, en realidad estaba culpando a alguien más? Ha redirigido los reproches que tenía para alguien más en contra de sí mismo.

Estos clamorosos autorreproches son de hecho reproches dirigidos a otra persona que ha sido internalizada. El melancólico se ha identificado por completo con el que ha perdido. Esto no siempre significa que una separación real o luto ha tenido lugar. Puede ser quizá la persona que el sujeto ama, o amó, o incluso la que debió haber amado. Pero una vez que la pérdida ha ocurrido, su imagen ha sido transferida al lugar del yo del melancólico. La furia y el odio dirigidos a la persona perdida son de igual forma desplazados, así que el yo ahora es juzgado como si fuera el objeto abandonado. En la famosa frase de Freud, “la sombra del objeto ha caído sobre el yo” ahora sujeto a la crítica despiadada tan singular al sujeto melancólico. Las espadas se han convertido en boomerangs.

Para Freud, el autorreproche del melancólico es de hecho un reproche al ser amado perdido. Pero, ¿por qué un reproche en primer lugar? ¿Infaliblemente los muertos y los que ya se han ido solo merecen nuestra simpatía? Puede haber enojo por la simple razón de que, cuando alguien se esfuma, los culpamos por su partida. Los cantos fúnebres en muchas culturas a menudo castigan amargamente al fallecido por haber abandonado a los vivos. Y esta rabia es ubicua en la vida mental de la persona afligida. Puede que encuentre difícil llorar una pérdida cuando sentimientos amorosos luchan contra la furia hacia la persona por haber muerto. La ausencia nunca es aceptada sin enojo. En duelo por un ser amado, un hombre describió su sueño aterrador de una lápida agrietada, como si estuviera “destrozada por un acto de venganza”. Darle sentido a esto era difícil ya que él no sentía enojo consciente; sin embargo, más sueños mostraron lo real que era esto. No podía perdonar a la persona muerta por partir. El sueño es ejemplar en que muestra lo difícil que puede ser construir un memorial para una persona si el enojo lo destruye continuamente.

Los viajes a visitar la tumba del ser amado traían consigo el mismo dilema. Cada vez que salía para el cementerio, equivocaba el camino: se pasaba de la parada correcta del metro o se perdía en el laberinto de calles que rodeaban al cementerio. Estas desventuras lo dejaban en total desesperación, hasta que de súbito se dio cuenta de que estaban representando su reproche contra la persona fallecida. Encontrarse solo y sin apoyo en un lugar extraño, dijo, era como culpar a la persona muerta.

Este es uno de los más importantes descubrimientos del psicoanálisis: el hecho de que podemos sentir furia sin ser conscientes de ello. Freud señaló después que las relaciones entre los vivos eran en sí mismas ambivalentes. Como escribió en Tótem y tabú:

 “En casi todos los casos donde hay un apego emocional fuerte para con una persona en particular, encontramos que detrás del amor más tierno hay una hostilidad oculta en el inconsciente.”

Freud argumenta, después de todo, que el factor decisivo no es la fuerza de nuestro apego hacia quien hemos perdido. No es el amor, sino la mezcla del amor y el odio lo que importa. Tendremos dificultades durante el duelo no porque amábamos a alguien demasiado, como sugeriría el sentido común, sino porque nuestro odio era tan poderoso. Tal vez es el esfuerzo mismo para separar el amor del odio lo que incapacita a la persona en duelo, dejándola atrapada en un limbo doloroso y devastador que puede tomar la forma del abatimiento y el pánico.

Hemos vista cómo Freud distinguía el duelo de la melancolía. En el duelo, nuestros recuerdos y esperanzas ligadas a alguien que hemos perdido son repasados y cada uno es confrontado con el juicio de que la persona ya no está aquí. Este proceso de reconocer y reorganizar pensamientos e imágenes eventualmente se agotara a sí mismo, y la persona en duelo elegirá la vida por encima de la muerte. En duelos patológicos o complicados, este proceso es detenido, debido primordialmente a la presencia de sentimientos poderosos de odio mezclado con nuestro amor por el fallecido. En la melancolía, el odio inconsciente hacia el que hemos perdido se vuelve contra nosotros para hundirnos: nos enfurecemos contra nosotros mismos de la misma forma que antes nos enfurecíamos contra el otro, debido a nuestra identificación inconsciente con él. Nos hemos convertido en aquello a lo que no podemos renunciar.


Fragmento del libro “La Moda Negra: Duelo, Melancolía y Depresión” de Darian Leader


Bucky Barnes Imagine - A Broken Promise

request: a bucky imagine where you are not an avenger or superhero just a normal person but bucky is your boyfriend and you get so worried about him fighting all the time and there is an argument

a/n: request some more angsty bucky stuff i love writing it omg

word count: 1180

masterlist: (x)

When you envisioned your fifth anniversary with your boyfriend, Bucky, you hadn’t imagined you would be fighting back tears on your sofa as you argued with him. The day had started off perfectly; Bucky brought you your favourite breakfast in bed, followed by a passionate make out session, and then some steamy shower sex. You’d gone on a ride around the city on the back of Bucky’s motorbike, weaving in and out of the traffic, and later the two of you ate ice cream in the park under the shade of a tree - he went for strawberry, you had mint choc chip. Then you came home and enjoyed each other’s company on the balcony of your apartment while you sat in comfortable silence reading your books. He made you dinner in the evening. That’s when he told you he was going on a mission in two days. He wasn’t sure when he would be back.

Over the course of the five years Bucky had been in your life, you had comforted him and looked after him enough times to know how dangerous his job was. He still had night terrors, and you’d spent countless nights calming him down as he fought the battle in his head. He almost always came home from a mission covered in bruises and scrapes. You hated it, but you understood that this was what he did. He made the world a better place, but you were always so worried. Each time he left, you were glued to the news channel on the television, desperate for updates. He was hard on himself, always talking about ways he could have done better once he was back home. He pushed himself too much when he was gone. Whenever he left, you always feared the worst - that he would never come back.


After a bad injury a few months back that had you worried sick, he promised that he would do less. He’d decline some missions and stick to the easier, less demanding stuff. So when he told you over your anniversary dinner that Tony had asked him to travel to Wakanda, you were upset at first, then the sadness turned to anger and a nasty argument ensued between you both.

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Hey guys! GOT7 Reactions

I’m going to be writing GOT7 reactions! I have little experience with this, so please don’t expect too much. :) You can request/give ideas for reactions in my request box as many times as you want! Here are my rules and some disclaimers: 


1. DISCLAIMER: THERE IS NO GUARANTEE THAT I WILL DO EVERY REQUEST. If I don’t understand what your request means or if I am not sure, I will probably skip it because I always want to write a good reaction that I am happy with.

2. I accept NSFW and triggering topics! However, if I feel like I don’t have enough knowledge or experience to write a certain request for a reaction, I may choose to skip it.

3. The requests can be as a girlfriend, best friend, sister, or anything you want. There is no limit as to what your relationship is to a member/to the members. ;)

4. Although, my account is called “GOT7 reactions”, I am willing to try writing scenarios, imagines, etc. Just let me know what you want in your request! If I feel like I can’t write good scenarios or imagines or if I am not happy with what I write, I will notify you guys that I won’t be taking any requests for those. 

5. That is all! Request away! 


MASTERLIST of GOT7 Reactions:

*if there’s no link, that means it’s coming soon! ;)

Reactions:

As their girlfriend:

1) unintentionally hurting you in a fight 

2) you having severe anxiety/your anxiety attacks

3) you tripping over air 

4) you wanting to cuddle with them 

5) you bringing home a stray puppy without permission

6) you having a weird/contagious laugh

7) reacting to your allergy of poinsettias

8) getting caught making out with you by their family

9) you gaining weight

10) being asked to massage your breasts (bc of menstrual cramps)

11) you kissing them in front of other members

12) seeing your self-harm scars

13) reacting to their parents liking you

14) you being bisexual

15) accidentally finding lingerie in your closet

16) having acne

17) coming home drunk after an argument

As gf idol:

1) having to dance a sexy concept with another guy

As their crush:

1) accidentally touching your hand 

2) you accidentally touching their hand

3) you saying you’d never date an idol

4) your boyfriend hurting you

5) grabbing them when you’re scared


Snaps:

1) Mark wishing you good luck on your test

2) Mark being in a long-distance relationship with you

"La salud mental es un mito": Bonnie Burstow, la doctora que lidera el renacer del polémico movimiento antipsiquiatría

“Yo no uso las palabras ‘salud mental’. Y cuando las oigo me da dolor de estómago”, me dice la doctora Bonnie Burstow.

Pero cuando lo hace, al que le da dolor de estómago es a mí.

Burstow es profesora en la Universidad de Toronto, Canadá, donde acaba de lanzar la primera beca “antipsiquiatría” del mundo.

En su trabajo como psicoterapeuta, Burstow dice haber ayudado a cientos de “pacientes con fuertes tendencias suicidas”.

Y su conclusión es que el tratamiento psiquiátrico convencional no es lo que los puede ayudar.

Movimiento polémico

Burstow es una figura prominente en el campo de la antipsiquiatría.

La profesora lo describe como “un movimiento tanto de sobrevivientes de la psiquiatría como de profesionales que sostienen que la psiquiatría debe ser abolida”.

La primera vez que escuché hablar de Burstow y del movimiento antipsiquiátrico, fui despectivo y hasta me enojé un poco.

Ahora que el mundo por fin está empezando a reconocer la gravedad de algunos problemas mentales, lo último que necesitamos es que un grupo de locos nos hagan retroceder, pensé.

Y el anuncio de la beca de Burstow generó reacciones encontradas.

Muchos denunciaron los peligros de la antipsiquiatría y su carencia de bases científicas, pero otros destacaron la utilidad de su escepticismo.

¿Enfermedades mentales?

La psiquiatría convencional sostiene que enfermedades mentales como desorden bipolar, depresión o esquizofrenia son el resultado de anormalidades biológicas, como desbalances químicos, que se combinan con factores psicológicos y sociales.

Y para el profesor Carmine Pariante, del Real Colegio de Psiquiatras de Reino Unido, “este complejo modelo bio, psico y social; mirar a todos esos componentes juntos”, es la mejor manera de abordar los problemas de salud mental.

Este es también el enfoque más comúnmente aceptado y uno que yo puedo reconocer en mi propio tratamiento y en las muchas conversaciones que he tenido con mi compañero de piso, psiquiatra de profesión.

Pero el movimiento “antipsiquiatría” cuestiona si las enfermedades mentales son en realidad enfermedades.

¿Significa eso que Burstow cree que el dolor que yo sufro a diario es completamente inventado?

“No”, me responde la doctora. “¿Creo que la gente sufre de ansiedad y tiene compulsiones? Por supuesto”, dice.

“Pero creo que esos sentimientos son una forma muy humana de experimentar la realidad”.

Mercado inmenso

La doctora cree que “tenemos una pretensión demasiado absoluta de lo que es 'normal’”.

“La gente se compara con lo que decimos que es normal, pero eso no es ni remotamente lo que la mayoría de la gente siente”, afirma.

Y yo ciertamente puedo entender lo que está diciendo.


Antes de que me diagnosticaran con Trastorno Obsesivo-Compulsivo (TOC), lo menos que me sentía era “normal”.

Pero si hubiera sabido antes que el tipo de pensamientos intrusivos que padezco son, de hecho, bastante comunes en nuestra sociedad, tal vez hubiera podido evitar años de sufrimiento.

“Si el 99% de la gente que hay en el mundo no son lo que ellos consideran 'normal’, eso beneficia a los psiquiatras, porque les asegura una clientela inmensa”, argumenta Burstow.

Y el movimiento antipsiquiatría también cree que los psiquiatras habitualmente sobremedican a sus pacientes.

Un reporte reciente predijo que el mercado global de medicamentos contra la depresión, que en 2014 ya se valoraba en US$14.500 millones, generará ganancias por el orden de los US$16.800 millones antes del fin de 2020.

¿Biología o condición humana?

“La psiquiatría asume que ciertas cosas son biológicas cuando no lo son”, afirma también Burstow.

“Y cuando decimos 'salud mental’ estamos diciendo que los problemas que la gente tiene son resultado de una enfermedad. Y no lo son”, insiste.


Esto, sin embargo, no es algo con lo que la mayoría de los profesionales de la medicina están de acuerdo.

Por ejemplo, hay evidencia de que los problemas mentales a menudo son asuntos de familia, con estudios que sugieren que el desorden bipolar está “entre los más hereditarios de los trastornos médicos”,

Y el profesor Pariante cree que la prueba de que las condiciones mentales están influenciadas (al menos en parte) por la genética, es nada más un asunto de tiempo.

Pero el movimiento antipsiquiatría rechaza esto completamente.

“La vida puede ser difícil. Pero hemos empezado a diagnosticar como 'enfermedades mentales’ ciertas reacciones y comportamientos que, por más dolorosos que sean, son parte de la condición humana”, dice Paola Leon, una psiquiatra de Toronto con 25 años de experiencia.

A Burstow también le preocupa lo que llama “el aterrador poder” de la psiquiatría.

“El Estado le ha dado el poder de encarcelar a la gente cuando decide que está mentalmente enferma, tiene el poder de encerrarlos y de tratar a la gente en contra de su voluntad”, se queja.

Pero cuando le planteo eso al profesor Pariante, su respuesta es: “Cuándo hay un riesgo real de que alguien se haga daño a sí mismo o a otros, ¿cómo podemos dejarlos sin ayuda, en una situación en la que podemos ayudar?”.

Nuevos tratamientos

Burstow, sin embargo, insiste en que hay otras formas de tratar a la gente.

El movimiento antipsiquiatría promueve más terapias basadas en conversaciones, incluso para condiciones debilitantes como la esquizofrenia.


Pero no estoy seguro de que eso me convenza: he conocido a mucha gente que se ha beneficiado con la medicación, así como a otros que han rechazado las medicinas y como resultado se han convertido en un peligro para ellos mismos.

Y aunque mis ocho meses de terapia cognitivo-conductual me ayudaron a avanzar significativamente en mi batalla personal con mis problemas mentales, creo que mucho de ello se debió a que acepté que lo que me estaba pasando era una 'enfermedad’: TOC. Me dio una explicación para mis síntomas.

Desde entonces, también he cuestionado la efectividad de muchos de los ejercicios de mi terapia.

Aunque con mi salud mental todavía frágil, estoy en lista de espera para un nuevo tipo de tratamiento basado en conversaciones: la psicoterapia.

Tal vez la forma para mejorar sea abordando mi vida como un todo, en lugar de enfocarme sólo en mi TOC.

Y eso es lo que tendré que hacer con “Diálogo Abierto”, un nuevo tipo de tratamiento desarrollado en Finlandia que ahora está siendo piloteado por el sistema de salud británico.


Este tratamiento no rechaza completamente la medicación, pero pone mayor énfasis en las redes sociales de los pacientes, incluyendo familiares y amigos.

Y en lugar de reunirse con profesionales de la salud mental en privado, los pacientes abordan sus problemas en compañía de sus familiares y otros miembros de su red.

Este enfoque es similar al concepto de “comunidad” que promueve Burstow para ayudar a la gente con problemas.

¿Útil o peligroso?

La mayoría de los psiquiatras, sin embargo, continúan viendo con escepticismo a la “antipsiquiatría”.

Según Allan Young, quien preside el Comité Especial de Psicofarmacología del Real Colegio de Psiquiatras, el movimiento -que se popularizó por primera vez en la década de 1970- acostumbra a “encenderse y desvanecerse” en el tiempo.

Y, para él, se trata de un movimiento ubicado en los márgenes de la ciencia, que está integrado por gente de todo tipo: “desde tipos raros con ideas descabelladas sobre la salud, hasta psiquiatras y otros profesionales de la salud mental”.

Pero yo, que sigo buscando la forma más efectiva de lidiar con las enfermedades mentales, no puedo dejar de sentir que descartar de plano al movimiento antipsiquiatría no sería lo mejor para aquellos que sufrimos problemas de salud mental.

Cuando menos, su resurgimiento está provocando discusiones sobre nuevos y diferentes tipos de tratamiento.

Y cada camino hacia la buena salud mental es diferentes, por lo que encontrar el mejor para cada uno, sea el que sea, es en realidad lo único que importa.

http://www.bbc.com/mundo/noticias-40095602

Se você gosta de assistir séries ou filmes que contém conteúdos sexuais, e argumenta dizendo que ‘pula as cenas pornográficas’, mas continua mesmo assim assistindo, eu gostaria de saber se teria a mesma reação diante do seu prato de comida preferido, mas cheio de baratas. Neste caso, você agiria da mesma forma: tirando as baratas e comendo, mesmo assim?
—  Clinton Ramachotte
Estoy leyendo “El secreto” de Rhonda Byrne, hasta ahora pienso que es un libro muy interesante y vale la pena examinarlo. ¿Tú lo has leído? si es así ¿qué piensas?

Por favor, argumenta el por qué.

Imagine Zayn Malik - Pedido

HEY BABYS! DEMOROU MAS SAIU!!! 

Nem acredito que consegui reescrever tudinho a tempo! UFA!

Obrigada a todos <3 Esse pedido foi bem legal e espero que a Gab goste !

Boa leitura Xx



- Querido, vai dar Guardiões das Galáxias! – gritei do sofá, zapeando os canais da TV.

- Que horas? – Zayn grita de volta da cozinha

- Daqui á cinco minutos! – minha garganta arranha no final da frase, talvez porque eu tenha gritado muito alto.

- Porque gritar tão alto? – Zayn confirma meu pensamento – Eu estou a dez metros ou menos de você, querida.

- Não sabia que era proibido gritar agora – digo, cruzando os braços e sentindo Zayn sentar ao meu lado.

- Nós moramos num prédio, e já são quase dez horas da noite – ele argumenta olhando para mim – Temos vizinhos que estão dormindo.

Dou de ombros e finjo não me importar com isso, mas a verdade é que se fizermos muito barulho depois das 22h, ganhamos uma multa muito generosa. E nós não precisamos de mais dor de cabeça.

- Amor … – Zayn sussurra no meu ouvido – Você imagina como ele ou ela é?

Instantaneamente coloco a mão na barriga e acaricio-a.

- Você acha que ter escolhido não saber o sexo foi certo? – mudo de assunto, mas não de propósito.

- Não mudaria nada aqui, amor – ele aponta para o peito – Eu amo esse bebê desde o dia que encontrei o teste jogado na sua gaveta – sorrio, lembrando desse fatídico dia – Independente do sexo, meu amor por ele é igual.

Faço uma careta momentânea. Zayn não costuma ter esses devaneios, começou depois que eu fiquei grávida.

- Mas mesmo não sabendo o sexo, eu imagino – ele volta ao assunto e deixo-o falar, aproveitando o carinho que ele começou a fazer na minha barriga – Eu imagino os olhinhos fechados, as mãozinhas bem pequenas, com dedinhos gorduchos para agarrar meus dedos…

- Bochechinhas grandes e vermelhas … – completo, conseguindo visualizar perfeitamente.

Por um tempo ficamos ali, só olhando para a minha barriga e imaginando aquele pequeno ser nos nossos braços e na alegria que ele ou ela nos trará. Como se tivesse realmente nos entendendo, o bebê chuta onde minha mão está, com a de Zayn por cima. Ambos ficamos maravilhados e nos olhamos sorridentes. Ele me dá um cálido beijo nos lábios e voltamos os olhos para a TV, mas nossas mãos continuam no mesmo lugar.

- Amor … – murmuro manhosa

- O que foi, querida? – pelo sorriso dele, já sabe que vou pedir alguma coisa

- Estou com desejo de comer uma coisa

- Fala o que é que eu faço pra você

Rio.

- É que o que eu quero não tem aqui em casa

Zayn olha para mim.

- Amor, não existe lojas abertas as dez e pouca da noite!

- Mas amoooor – prolongo a palavra de um jeito bem manhoso, ele precisa ir comprar pra mim- não quero que o bebê nasça com cara de trufa!

- Meu filho não vai nascer com cara de trufa!

- Só se você for comprar uma pra mim – digo e dou o meu melhor sorriso de orelha a orelha

- E onde eu vou achar trufa uma hora dessas? – ele pergunta desconfiado

- Naquela confeitaria que eu gosto! A dona me adora e diz que eu posso pedir o que quiser a hora que eu quiser! – digo de uma forma bem criança, toda animada.

- Mas poxa, ta na hora da porradaria no filme! – Zayn aponta pra TV

- Shhhhhh – repreendo-o – Não fale palavras feias perto do bebê – coloco as mãos na barriga de um jeito protetor.

- Eu não to conseguindo acompanhar suas mudanças de humor, querida – ele diz balançando a cabeça. Eu cruzo os braços e faço bico, não acreditando que ele ta me chamando de bipolar. Zayn me olha de rabo de olho e começa a gargalhar – Tudo bem, me diz qual sabor você quer.

Mordo os lábios já imaginando o doce derretendo na minha boca.

- Morango! – digo rápido, mas depois falo – Não, doce de leite!

Zayn já estava de pé com as chaves do carro na mão. Ele para e faz a pose de “escolhe logo uma”.

- Já sei! – grito mais animada ainda – Quero os dois sabores!

Zayn balança a cabeça e sai do apartamento, não antes de dar uma boa olhada em mim para verificar se está tudo bem. Volto a ver o filme e sinto o bebê chutando mais algumas vezes, dessa vez mais forte. Tento acalmá-lo, dizendo que logo logo ele estará aqui, mas ele parece não me ouvir ou entender, porque de repente uma dor começa a me perturbar na região pélvica. Fico massageando e tentando esquecer, mas cada minuto que passa, a dor aumenta até ficar insuportável.

Talvez tenha se passado dez ou quinze minutos, eu não sei direito, mas mesmo assim pego o celular para ligar pra Zayn, mas acabo descobrindo que ele deixou o celular na bancada da cozinha. Xingo mentalmente e tento me levantar, mas a dor se intensifica e eu não aguento, começo a gritar e não sei mais o que fazer.

Minutos depois eu ouço alguém batendo na porta, está gritando o meu nome, mas eu não tenho forças para andar até a porta, então grito pra entrar. Meus olhos estão apertados pela dor, mas assim que a pessoa se abaixa e fala comigo, percebo que é Richard.

- O que está acontecendo? Porque está gritando? – ele me pergunta preocupado

Balanço a cabeça, não sabendo como falar e respirar ao mesmo tempo. Só seguro a barriga com mais força quando a dor me acerta e grito mais uma vez.

- Meu Deus, sua bolsa estourou! – ele grita e eu me apavoro – Cadê o Zayn?

- Ele … saiu – consigo dizer entre minha respiração ofegante.

Richard balança a cabeça e percebe o celular na bancada. Ele me pega no colo e me leva pra fora do apartamento, em direção ao elevador. Quando ele me coloca no carro dele, já estou sentindo menos dor, mas as minhas calças estão molhadas e a pressão na minha bexiga é imensa.

- Zayn é um Zé Mané mesmo – ele brinca, tentando me fazer esquecer da dor – Vamos arrumar um jeito de falar com ele, não se preocupe.

Não me preocupar é quase impossível. Eu tô apavorada, com dor e meu marido não está aqui comigo. Eu tenho vontade de chorar quando chegamos ao hospital, principalmente quando nos levam para a sala de parto e a minha médica me diz o que eu já sabia, mas não tinha caído a ficha ainda:

- Então, vamos ver a carinha desse nenê hoje?

Balanço a cabeça positivamente, mas o pânico me atormenta. Richard está animado ao meu lado, não para de sorrir e isso me deixa irritada. Quando a doutora sai da sala, dizendo que uma enfermeira vai vir de cinco em cinco minutos para checar a minha dilatação, digo:

- Se você não parar de mostrar esses dentes, eu vou quebrá-los

Richard ri da minha cara e eu fico séria, logo ele para de sorrir e levanta os braços.

Durante os primeiros dez minutos, a dor vai e volta, vai e volta. Toda vez que grito, uma enfermeira vem e diz que ainda não estou pronta. Começo a me irritar com ela também e quase gritei com ela, mas Richard me segurou. Estou muito perto de xingá-las.

- É o Zayn! – Richard grita ao meu lado e atende o celular.

- Me deixa falar com ele! – me altero e tento pegar o celular, mas a dor me atinge e eu grito. Talvez Zayn tenha pedido para falar comigo, pois Richard me passa o aparelho na mesma hora – CADÊ VOCÊ, ZAYN?

- Oi amor, estou a caminho, estou a caminho – a voz dele está nervosa – Eu fiquei esperando esse tempo todo a dona da loja, ela saiu da cama pra abrir a loja e me vender as suas duas trufas. Infelizmente não tinha a de doce de leite, então trouxe duas de morango.

- ZAYN, EU TÔ SENTINDO DORES ABSURDAS, A ENFERMEIRA DISSE QUE MINHA VAGINA NÃO ESTÁ DILATADA O SUFICIENTE E VOCÊ VEM ME DIZER QUE NÃO TINHA A MINHA TRUFA PREFERIDA?

- Amor, sua trufa preferida é a de maracujá

- AGORA É VOCÊ QUEM DIZ O QUE EU GOSTO OU NÃO? TÁ BRINCANDO COM A MINHA CARA?

- Amor, tudo bem, tudo bem, eu estou a caminho. Respira, aguenta firme que eu já já chego!

- ZAYN, A MINHA VAGINA VAI FICAR DA LARGURADE UMA PORRA DE  TOBOGÃ! VEM LOGO PRA CÁ!

Desligo o celular e volto a gritar, agora sentindo que a dor está mil vezes pior.

Quando a enfermeira entra na sala com a doutora usando luvas, sei que a hora chegou.

- Tudo bem querida, chegou a hora – Dr. Dany tenta me acalmar. Ela abre as minhas pernas e se senta de frente pra elas – Você me disse que não queria anestesia, então você vai sentir muita dor, ok? – arregalo os olhos, mas ela não me deixa contestar – Vou pedir para você respirar fundo e fazer o máximo de força que conseguir. Isso deverá se repetir varias e varias vezes.

Começo a suar e Richard vem para o meu lado. Ele agarra a minha mão e diz que tudo vai ficar bem.

- Você é o pai? – a enfermeira ao meu lado pergunta

- Ele é meu irmão – digo. Ela balança a cabeça e fica quieta.

- Vamos lá – a doutora diz – Um, dois, três e vai!

Respiro fundo e faço força. Dói para cacete.

- De novo, querida

Respiro e faço mais força.

- Mais força dessa vez

Quase quero xingar, por isso grito bem alto e faço o máximo de força que consigo.

Durante muito tempo repito esse processo, o que parece uma eternidade.  A dor fica cada vez maior e quanto mais força eu faço, mais alto eu grito e mais a minha garganta arde e minha cabeça parece explodir. Meus sentidos já estão em frangalhos, minha testa nunca esteve tão suada, e por mais que a enfermeira passe um pano molhado no meu rosto, o calor que sinto é sufocante. Não consigo respirar direito e sinto pressão no diafragma. Começo a pensar que não vou conseguir e começo a chorar e gritar e fazer força, tudo junto. Richard me consola, dizendo que estou quase lá, mas quase não o ouço, a dor é intensa demais.

Um choro estridente preenche o quarto. Minha coluna volta a encostar na cama e um alivio se espalha pelo meu peito. Tento normalizar minha respiração, e quase desmaio, mas me mantenho firme.

- Pode entrar, querido – ouço a médica dizer.

Quase que no mesmo segundo, Zayn vem para o meu lado e beija todo o meu rosto, e com ele está o bebê. Chorando muito muito alto.

- Nossa filha, amor, nossa filha – ele sussurra pra mim, com a voz tremula e lagrimas manchando seu rosto.

Sorrio o quanto posso e beijo seus lábios, voltando a olhar para a pequena menininha nos braços do meu marido. Não contenho as lágrimas e deixo-as virem, numa enxurrada de alivio e amor.

- Desculpa não estar aqui, amor, me perdoa – Zayn pede – A mulher demorou muito e assim que peguei as trufas, meti o pé pra casa, mas quando não te vi lá, fiquei desesperado. A primeira coisa que fiz foi ligar e ouvi seu grito, meu Deus … me perdoa, me perdoa. Peguei transito de lá até aqui, larguei o carro a duas ruas daqui e vim correndo.

Balanço a cabeça varias vezes, sorrindo e passando a mão no cabelo dele.

- Está tudo bem amor, pelo menos você não viu minha vagina com quase quarenta centímetros …

Zayn ri.

- Sua exagerada

- Trouxe minhas trufas?

- Foi a única coisa que peguei antes de deixar o carro lá

Sorrio mais ainda e fecho os olhos, finalmente me sentindo completa.

- Eu te amo – digo

- Eu amo vocês duas – ele completa

/Larry

Castle Ficlet: A Persuasive Argument 1/1

A Persuasive Argument

A Reference Material Universe ficlet


This is ridiculous. He’s being ridiculous.

She hasn’t seen her boyfriend in almost a week, not since a date that had ended in him walking her back to her dorm, hiding his face in his sleeve to sneeze half a dozen times, and frankly the separation is getting a little old.

Fine, he has a head cold. He feels crummy, she gets it. Colds suck; they take days to build up, and then they linger for maximum misery. But he’s decided to hide in his apartment and wallow instead of taking some Dayquil and getting on with things. Like coming to class or seeing her.

And all of it with the explanation of “Well I don’t want to get you sick, too, Kate.”

Her boyfriend is an idiot. He’s sweet to think of her and put her health above his like that, but he’s still an idiot.

Of course she doesn’t want him to get her sick, but wouldn’t letting her help make it easier for him to get well faster? She can cook, but he won’t even let her come over to make him soup. She could rub his head and pamper him just a little bit, the way he always pampers her. But no. No, he’s suffering in silence, save for the occasional text to let her know he’s at least still breathing.

Well, enough of that.

She waits to text him until she’s outside his building, wanting to see if he’ll let her up or if she’s going to need to stoop to using the big guns: asking someone else to let her in and sneaking to his door.

How’re you feeling?

Keep reading

El sexo biológico es un constructo social. Los hombres trans son hombres con cuerpos de hombres. Las mujeres trans son mujeres con cuerpos de mujeres. La personas no binarias son personas no binarias con cuerpos de personas no binarias.

[…] El modo en el que concebimos el sexo en el occidente actual está totalmente construido. Es muy común que desde posiciones tránsfobas se haga uso de la ciencia para derribar este hecho; sin embargo, es ella misma la que se encarga de darnos la razón. En biología, el sexo se define exclusivamente por la producción de gametos (en la especie humana, de esperma u óvulos). PUNTO. Sin embargo, pasa que cuando la gente se pone a discutir de sexo biológico se mencionan genitales, hormonas, características sexuales secundarias, etc; y aunque exista una cierta correlación entre esto último y el “sexo biológico”, no es más que pura estadística, no hay nada innato ni preconcebido. Es la reproducción sexual la responsable de la enorme variedad genética que conocemos; por tanto, las características sexuales de las que hablamos vienen dadas por determinados genes. Aquí es imperativo hablar de la gente intersexual, quienes dejan clara la manera que tiene la biología de funcionar y demuestran que la correlación entre sexo biológico y características sexuales de las que hablábamos antes no existe, y estamos hablando de cientos, miles y millones de personas.

Y sin embargo aún hay quien argumenta que “bueno, pero la gente intersexual ha aparecido de carambola”, algo que demuestra un escaso conocimiento de la biología, ya que la evolución no es lineal, sino un proceso continuo que no se detiene; por lo que toda esa gente que “ha aparecido de carambola” no es efectivamente “producto del azar” es la manera que tiene la evolución de funcionar.

No existen las mutaciones negativas, las mutaciones son aleatorias y hay ocasiones en las que mejoran nuestra adaptabilidad y otras en las que las empeoran; sin embargo, la manera en la que entendemos el sexo en nuestra sociedad heteronormativa poco tiene que ver con el rigor científico. Las características que vemos como consecuencia del “sexo biológico” no se sustenta en rigor científico, sino en construcciones sociales surgidas de una falta de comprensión científica. A lo que voy, si crees que la gente trans miente, muy bien, allá tú, pero no metas a la ciencia en esto, pues no te va a dar la razón y se te están acabando las excusas para comportarte como una mierda.

—  devilinsequins.
10

Hi everyone! At this point, I’m approximately half-way done with my paper (it’s over 12 pages at this point, woah), and since I plan to get it published in a scholarly journal, I won’t be posting it on here. But I did give a presentation based on my research at Simmons College’s undergraduate symposium this past Wednesday.

Subjects of my research

Agent Carter

The ABC series Marvel’s Agent Carter, which is a spin-off of the Captain America film series focusing on Agent Peggy Carter, a skilled agent for the Strategic Scientific Reserve and the right-hand-woman/love interest of Captain America, as she struggles to prove herself in the sexist society of post-World War II America.

Sailor Moon

A Japanese magical girl anime and manga series that follows 14 year-old Usagi Tsukino, a.k.a. Sailor Moon, and her friends who upon awakening with the power to transform into a team of superheroines, known as the Sailor Guardians, fight for love and justice in order to protect the Solar System.

What is weaponized femininity?

A trope commonly found in female action heroines wherein their femininity is retained alongside masculine demonstrations of physical or mental strength, or functions as something to be manipulated as a tool of empowerment.

Its juxtaposition of masculine power with traditional femininity presents the feminine and the feminine-subject as active agents capable of undermining patriarchal power as well as cultural assumptions of girls and young women.

Offers resistance to what feminist film theorist Laura Mulvey called the “active-male/passive-female dichotomy” of gendered power on film, wherein men are depicted in active roles that bestow them with agency within a narrative, whereas  women in film serve as objectified, sexually titillating spectacles for “the male gaze” of the male audience.

Although hyperfeminine action heroines and female characters who manipulate the terms of their femininity have been the subject of feminist media scholars for years, there is currently no academic scholarship on the trope of weaponized femininity itself. This is because the term “weaponized femininity” is a neologism that began circulating around the feminist blogosphere around 2013. Thus, I was tasked with giving this concept validity as a trope in and of itself.

Component #1 - Masquerade

Female characters use or manipulate the terms of their femininity in order to gain power, navigate through oppressive power structures, or subvert patriarchal authority.

Draws from theorist Joan Riviere’s idea of femininity as strategic masquerade, wherein “womanliness…[can] be assumed and worn as a mask” to hide a woman’s possession of masculine strength.

Often enacted by superheroines, female secret agents, and female assassins, who perform a carefully constructed feminine identity in order to infiltrate the unsuspecting male sphere.

Component #2 - Destability of Gender Assumptions

Wherein hyperfeminine female characters demonstrate physical and/or mental strength on par with men.

The physical power and mental strength of these feminine subjects stands in opposition to cultural assumptions of female passivity,  refuting assumptions of appropriate gender roles by unifying feminine appearance and masculine toughness.

This iteration of weaponized femininity is frequently found in the young girl action heroine, who offers transgressive potential through her unique combination of physical power with stereotypical youth and femininity.

While the young girl action heroine has been featured throughout Western media ― The Powerpuff Girls (1998 - 2005), Hanna (2011),  and The Professional (1994) ― she has proven to be a cultural phenomenon throughout Japanese anime and manga in the form of “the beautiful fighting girl” (sentō bishōjo), young heroines whose “pure and lovable girlishness remain intact” while they do battle and fight to save the world.

Component #3 - Empowered Femininity

The powers of these heroines are characterized as feminine or depicted as stemming from femininity.

Constitutes a reclamation of femininity as a site of empowerment, reinscribing traditionally feminine characteristics with the active power commonly attributed to masculinity.

“The heroines themselves are empowered by their femininity, their weapons and superpowers as pink and girly as Barbie’s accessories, but as lethal as Rambo with heavy artillery strapped to his bulging chest. ”

Divisiveness of Criticism

However, feminist criticism towards these feminine action heroine attests to the weaponized femininity trope having a “double stake” in simultaneously resisting and reinforcing Mulvey’s active-male/passive-female dichotomy

The degree in which these hyperfeminine heroines are coded as sexually desirable objects sees the trope working in favor of the male gaze, presenting their resistance to female passivity as “erotic spectacle” and turning them into “sexist window-dressing” for male audiences.

The empowerment strategy contained in weaponized femininity also bears likeness to the neoliberal “tropes of freedom and choice” contained in postfeminist ideology. Thus, the trope often takes the form of the depoliticized, market-oriented Girl Power narrative that presents surface-level feminist rhetoric in commercial, apolitical ways.

Zack Snyder’s (Dir. Batman vs. Superman) 2011 film Sucker Punch was subject to criticism for the highly sexualized ways in which its heroines were depicted. Variety’s Peter Debruge called the film “misleadingly positioned as female empowerment despite clearly having been hatched as fantasy fodder for 13-year-old guys.”  

My Argument

As valid as these criticisms are, most of them fail to take into account the influence that female-authorship and female-readership/audience have on the trope’s images. Male agency over these narratives is assumed, and thus depictions of female sexuality constructed by female creators can be conflated with sexual objectification.

Mulvey’s theory of the male gaze specifically notes that these sexist images of women are the products of male production and the privileging of male audiences.

Furthermore, for feminist scholarship on Japanese anime (particularly Sailor Moon), theorists tend to apply strictly Western concepts of gender and feminist theory (such as Girl Power) onto these culturally Eastern narratives. This also ignores the fact that there is a rich history of female authorship to be found in Japanese manga.

I my paper I examine how female authorship and an explicit focus towards female audiences influence depictions of weaponized femininity, which I propose give female characters greater agency, subverts sexual objectification, and reinserts feminist gender politics back into the trope itself.

Weaponized Femininity in Agent Carter 

A significantly female production that centralizes female creative power, giving female-agency over a female-led narrative. Not only was Hayley Atwell integral to to show’s development but she’s an outspoken feminist herself who’s emphasized the political nature of her character.

Additionally, two of the three showrunners are women - Tara Butters and Michele Fazekas.

Agent Carter is also the first series within the Marvel Cinematic Universe to focus on a female heroine, and was also developed out of response to feminist criticism that the Marvel series was sidelining female characters. To this date, this series and Netflix’s Jessica Jones are the only two female-led series to exist.

While Peggy Carter’s role as Captain America first love-interest in the comics was minor, she was expanded on into a supporting role in the film. In the series, her male-authored history is challenged under female-authorship, which gives her the leading role. In this way, you can say that women really reclaimed Peggy as their own!

The show’s 1946 setting sees the trope politicized against post-war sexism and misogyny, at a time when women were being forced back into the home and gender roles were being re-established.

Despite her credentials, Peggy is dismissed by her male peers at the S.S.R., who demote her to secretarial duties and exclude her from field work.

In order to clear the name of her War-friend Howard Stark, Peggy is forced to use her femininity as masquerade in order to navigate institutional sexism and conduct her own investigations.

The show’s emphasis on post-war sexism simultaneously serves to provide a metacommentary on the erasure of women from the comic book industry, which began after men returned from the War and pushed women out of the workforce. This resulted in the cancellation of many superheroine comics and superheroine characters being demoted to either love-interests or minor, unsuper roles.

Similarly, Peggy is dismissed by her male colleagues as nothing but Captain America’s “gal”, and the erasure of women from comics is paralleled via the character Betty Carver, Peggy’s fictionalized counterpart on the radio show “The Captain America Adventure Program,” which demotes her role in Captain America’s story the core and powerful ally he revered to a gushing, damsel-in-distress.

Weaponized Femininity in Sailor Moon 

Created by Naoko Takeuchi, a female manga artist, who created the series specifically for young girls, because she saw a lack of female characters in the male-dominated super sentai (Japanese superhero team) genre.

Is a genre-hybrid of shōjo (manga aimed towards young women), mahō shōjo (magical girl), and super sentai. But falls in the realm of what Japanese psychologist and media scholar Saitō Tamaki calls the “beautiful fighting girl” character.

Takeuchi consistently places the experiences of Japanese girls and young women at the story’s forefront, reflecting shōjo’s history of politicizing girl’s experiences (sexuality, gender, etc.).  

A history of female-authorship exists in manga. Specifically, the “beautiful fighting girl” figure that Sailor Moon represents originates from shōjo.

Around the late 70s and early 80s, a new audience demographic for these stories and the beautiful fighting girl arose ― male otakus, or adult male hyper-fans of anime and manga, who came to sexualize these young female characters.

This resulted in many beautiful fighting girl characters and series to become sexualized in order to appease this audience and their consumer interests (such as anime merchandise).

Japanese Gender Politics

Once a patriarchal structured society, Japan in the early 70s saw a change of gender roles as women were given greater social freedoms, such as the ability to make their own marriage decisions.

However, this resulted in a sense of male anxiety and emasculation, and men began to feel socially disempowered relative to women’s increasing social status.

As Saitō Tamaki notes, this change in gender roles informed a sense of sexual entitlement and fetishization of young girls, who are still relatively bound within Japan’s age-based social system (one which expects conformity from children and prioritizes seniority.  

Thus, the beautiful fighting girl character was “hijacked” from female authors and female audiences because her youthful femininity and fictional nature allowed her to be easily fetishized.

The agency over the narrative allotted by female authorship sees the trope used to subvert the Madonna/whore dichotomy, as Sailor Moon’s power is sourced in her “pureness of heart” and yet, while being a clutzy, crybaby of a teenage girl, she’s allowed to be a sexual being and have ownership over her own desires.  

The very concept of weaponized femininity is also queered through the number of characters who express/engage in non-heterosexual love (the lesbian relationship between Sailor Uranus and Sailor Neptune) or are depicted as having a fluid gender-identity (Sailor Uranus and the gender-bending Sailor Starlights).

When asked why she included such a non-fetishized depiction of lesbians in the series, Naoko Takeuchi stated, “There’s not only heterosexual love, but there also can be a homosexual love, in this case between two girls.“

So, not only does this queerness work to destabilize the notion of female essentialism in weaponized femininity, but this form of queer representation remains radical even in 2016 Japan, which is still very behind in terms of extending anti-discrimination and marital rights to LGBTQ citizens.

The Party - Part Eight

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven

Summary: You and Jared finally talk about what you saw in that article.

Words: 1,241

Jared x Reader

Warnings: angst/argument

A/N: Next part will probably contain smut… hope that’s cool with y’all

Your name: submit What is this?

The rest of the week passed in a dull blur. You’d blocked Jared’s number from your phone so that you didn’t have to keep ignoring his texts and calls, and you took on overtime at work, giving your brain something else to think about.

Sal gave you sympathetic looks, but when you told her that you didn’t want to talk about it, she left you alone.

You told yourself that you were being stupid to think that it’d work out anyway. He was a beautiful, muscular TV and movie star, and you were a small town insurance claims examiner. It wasn’t exactly a match made in heaven.

You’d worked two hours of overtime on Friday before Sal told you to go home.

You nodded tiredly, packing up some paperwork to take home and work on in the hope that it would take your mind off of Jared.

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Shouting [Alexander Hamilton x Reader]

Summary: After a month of going to bed and waking up alone, you can’t help but feel a little bitter towards your husband. You knew he was obsessed with his words but this? This was starting to get ridiculous. 

Word count: 701

Warnings: Brief argument

A/N: Requested by @ruth-hamilton-delrio (also this is my first x reader fic so I had very little idea as to what I was doing)


“Alexander, come back to bed.”

“I’ll be there soon, I just need to write something down.”

You sighed and shook your head, resigning yourself to returning to your too large, too cold bed without Alexander. Yes you’d fallen in love with him because of his words, but it was now those same words that were tearing the two of you apart. He was never fully present when you spoke, always lost in his thoughts or scribbling onto any surface available. He was obsessed with his work, and while in the past you’d been able to live with it, now you were just…tired of it.

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LA VIRGINIDAD EN UN CONCEPTO SOCIAL

La “virginidad” es un término que todos, sobre todo las mujeres, escuchamos desde que somos muy pequeñas y que ha moldeado de alguna forma toda la estructura sexual. Para muchas familias, perder tu ‘virginidad’ con el que te cases es prácticamente esencial o lo ‘correcto’ cuando eres mujer. Sin embargo, no puedo evitar pensar que el termino virginidad más que una realidad, es un concepto social, diseñado para controlar los actos sexuales y en tal caso, avergonzar a quienes no vivan bajo ese concepto. Como dije, la virginidad no es más que una forma de controlar la sexualidad y el cuerpo de las personas y como lo usan, un concepto para pasar críticas y contribuir con el sexismo.

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anonymous asked:

Wait, I don't understand your last post. Are you saying ages don't matter because you can change them? Because I agree with you but then you just stated basic stuff about how authors and creators choose the character's age and how they act and stuff and ??? I thought that was common knowledge??? Do antis think you can't change a character's age? And if so, why?

The post that prompted this ask.

Disclaimer: This is looong. Also, it’s observational. I refer to science, but I’m not a scientist. I’m open to critique and correction.

#1 Intro
#2 Explanation
#3 Examples & Counter Argument
#4 Scientific Basis & Implications; Sociological Context
#5 Final Statement


#1 Intro

Allow me to assure you that I am very happy you don’t fully understand the purpose or necessity of my last post – I don’t mean to condescend or patronize, at all. I am sincere. It means that, perhaps, you haven’t yet been exposed to a certain brand of ‘logic’ that I’ve been exposed to. If any of what I said seems obvious to you, then you grasp a concept that is diffcult to process for some, and that some consider problematic for reasons that are beyond creative.

#2 Explanation

„you just stated basic stuff about how authors and creators choose the character’s age and how they act and stuff and ???“

I’ll try to be as specific as possible. The problem does not lie with the original creators per se, but how transformative media handles the characters in question – how fanart/fanfiction treats the characters. A number of people choose to consider the original creator’s intention and their specific configurations for a character to be untouchable, even in transformative media. I don’t exactly have a strong position on this, to some degree – although I believe that transformative media inherently strives to be what’s on the label: transformative. That’s not entirely the point I was trying to make, though. It’s yet more specific.

„I thought that was common knowledge??? Do antis think you can’t change a character’s age? And if so, why?“

Yes. Some do, in fact, think so. I’ll first try to present their reasoning in an unbiased fashion, then offer my own perspective on it.

Changing the age of a fictional character, or ‘ageing them up’, especially if they’re underage – is 'predatory’. It’s supposedly akin to waiting for someone to 'become legal’ in the real world.

#3 Examples & Counter Argument
A real-world example:

A famous teenage starlet is being fawned over by (adult) fans. They express the idea that they can’t wait for them to finally reach the age of majority, so that it will be legal for them to pursue the starlet in a sexual manner.
Their desire is direct, real, and aimed at the person (actual, real person) in question. One might be tempted to conclude that their desire and attraction are of a divergent variety.

To contrast the real-world example, I’ll offer one that deals with a fictional character:

A fictional teenage character is being fawned over by (adult) fans. They express the idea that they would like to 'age them up’ in their own work, for various reasons. The reasons might be a) their personal level of comfort b) an interest in developing the character further and past their 'canon’ age c) personal preference, and many more. Their intention might involve putting the character in sexual scenarios.
Their desire is indirect, projected, and focused on an idea, rather than a person (actual, real person). Still, one might be tempted to conclude that their desire and attraction are of a divergent variety.

To summarize; the idea is that the age of a fictional character bears as much meaning and weight as the age of a real person, and any implications concerning the people expressing a direct or indirect desire for them are judged and measured equally, on equal terms.

Now, I’ll proceed to present my counter argument.

1. Firstly, acknowledging the questionable morality of pursuing an underage person (actual, real person) and waiting for them to reach the age of majority isn’t predatory. It’s acting according to law, and according to a codex of morals that has been agreed upon by – at the very least – a considerable portion of society. Desire itself isn’t inherently predatory. Desire is a complex emotion. It manifests, and demands, but it does not enable, and it does not force. Expressing desire is just that – an expression. Attraction isn’t a form of compulsion. It’s a form of wanting, and wanting something or someone doesn’t automatically imply action. Wanting is inaction. Having is action. These two are not interchangeable.

2. Secondly – and we’re dealing with the fictional example now – age in fiction does not automatically have the same function and implication as it does in real life. A character does not age on their own. They are not born. They do not grow on their own. They are incapable of making experiences on their own. They do not exist. They’re not real. They are decidedly, unquestionably, indubitably, demonstrably not real. They are not you, they are not like you, they are not anyone, they are not.

They’re an idea, a concept, a canvas for you to project onto. Here’s where I’ll have to get a little (or a lot) more general to further emphasize the point I’m making.

#4 Scientific Basis & Implications; Sociological Context
Any (direct) effect a fictional character or concept may have on you is a consequence of you – it’s a consequence of the experiences you’ve made, how you process and experience their actions, their inactions, and the identifiers they’re presented with. In other words, how you process ideas and concepts, and how (much) they affect you  is directly connected to how you process most type of thought. It is tied in with your level of maturity, your ability to differentiate between what’s real and what isn’t, and how well you deal with compulsion and suggestion. It is very important to understand this. If the existence, mention or suggestion of an act is enough to convince you to commit the act – you absolutely need some form of (temporary) assistance. I’m decidedly not being snarky, and I’m not exaggerating.

The human brain has (as far as we’re aware of) at least two components that deal with creating, experiencing and evaluating impulse, and exercising control. The limbic system – in simplistic terms – deals with emotion and instinctive behavior. It acts in tandem with the prefrontal cortex, which deals with integration of memory content (experiences), evaluation of emotion, and planning of action. The prefrontal cortex is also referred to as „Supervisory Attentional System“ (SAS).

Any claims denying people of an inherent level of agency and control over their actions disregard – to some extent – two integral parts of our brain. Damage to the prefrontal cortex may lead to different evaluation of impulses or sensory input, but not any given individual has suffered damage to their prefrontal cortex or had it develop differently in the womb. Of course, science is still very much in the process of studying the brain, and we know a mere fragment of what there is to know. We do know, though, that what we perceive as morals and ethics and how 'good’ or 'bad’ a person might appear to be, is also tied in with the biological development and biochemical processes in their body (and brain, specifically).

The following I had to preface with all this, so I can really hammer in the concept I’m trying to get across, and that people need to understand.

When you state that fiction affects reality, you need to understand what you’re saying. You’re saying fiction affects people. Yes – it does. But to what degree? Your understanding of this subject needs to be nuanced.

Here’s what I stated earlier:

„If the existence, mention or suggestion of an act is enough to convince you to commit the act – you absolutely need some form of (temporary) assistance.“

Why is that? What might compel me to make such a claim? It’s the mere fact that – if you can’t tell fiction from reality, and fiction directly affects you to a degree that disables your agency and all but forces you to imitate, emulate, recreate or copy fictive concepts, then – in very simple terms – your brain might not be working quite right, and it might very well be an issue that is deserving of attention.
If you’re affected by the active and passive 'experiences’ ( – the situations they’re put in) of a fictional character that supposedly/allegedly/apparently represents a concept that is similar to your actual experiences to a degree that causes you immense discomfort, you may want to investigate your situation and reconsider the content you expose yourself to. Or in a non-run-on-sentence-format: If, for example, Fictional Character A subjects others to harm, or is being subject to harm, and that affects you to an immensely uncomfortably degree, then you might want to talk to someone about it.

The prerequisite for people being affected by fiction to an unhealthy, dangerous and harmful degree, is for them to start out affected, or unhealthy. It’s a mental health issue. You need to understand who you need to protect, and from what. If you want to protect those who are affected by fiction to an unhealthy, dangerous and harmful degree, your activism needs to focus on mental health (issues), and not on censorship.
This is a tested, tried and true cop-out of society. We notice a problem, and our approach starts out – and often further remains – symptomatic. Because it’s significantly easier, and it doesn’t require the ability of complex thought.
Pregnant teens? Tell them to stop fucking. Criminal youth? Make an attempt at discouraging crime by establishing harsher penalties. Kids shooting up schools? Blame just about everything other than a system that treats the mentally ill as a nuisance and paints them as potentially violent offenders; a system that is uncomfortable with mental illness. Someone was sexually assaulted? Well – what did they wear?

Additionally, I’m being very specific about the degree of being affected that I consider worthy of attention. Having a reaction to fiction is more often than not (– I’d even argue: in all cases) the desired effect. Having an immense, intense, unhealthy, dangerous and harmful reaction is not the desired effect.

#5 Final Statement
Now that I’ve established a staggering amount of context, I’ll say this:

If, in all honesty, you believe that 'age-ing up’ a fictional character is in any way, shape or form 'predatory’, or harmful to anyone, you absolutely, absolutely need to re-evaluate your position. You are part of many problems, and you’re likely unaware of it.

So – my dear anon, do you understand now why I need to be as specific and excruciatingly obvious as I can be? Why I need to state the absolute common, trivial and generally understood? It’s because critical thought is a rare good (in some parts of tumblr), and that’s a problem.

“Los lideres políticos son nuestros propios muñecos sexuales. Los necesitamos para satisfacer ciertos placeres ocultos (…) Nuestros líderes están llenos de aire; están a solo un pinchazo de volver a ser lo que una vez fueron”, argumenta Saint Hoax.

Feminismo radical sob construção social: Argumenta que machos são socializados para serem dominantes e violentos. Que fêmeas e machos são iguais, e que portanto, o mecanismo de papéis de gênero são aplicados igualmente para machos assim como é para fêmeas. Essa teoria argumenta que machos podem ser reformados através da educação e socialização para que não os ensinem a serem violentos.

Veja: Delusions of Gender por Cordelia Fine.

Feminismo radical essencialista: Argumenta que a dominância e violência masculina é mais provável que seja inata, biológica. Que fêmeas e machos são diferentes, e que portanto, papéis de gênero não são aplicados para machos e fêmeas igualmente. Essa teoria argumenta que machos não podem ser reformados independente de como nós ensinamos ou criamos eles.

Veja: Gyn/Ecology por Mary Daly, SCUM Manifesto por Valerie Solanas.