everything sounds familiar

My worst fear on a test? The feeling of getting an exam paper in front of me, and not being able to remember anything, while back at home when reading the book I thought I knew everything. Sounds familiar? In that case, it may help to try these techniques. They help you practice retrieving information, rather than being familiar with the concepts you are studying. These have helped me loads, and I’m actually pretty convinced that these techniques are better than many others I used to apply, like rereading and regular summarizing. Hopefully they work for others as well :)

1. Summarise… in questions.

How do you do it? Instead of writing down facts, you convert facts to questions. Underneath the these, you answer them in your own words. This is technically the baby of summaries and flashcards. Don’t do this with every small fact, but rather convert several to one question, and omit the less important things always. You’re not going to remember every detail and most teachers don’t require you to (of course if they do, study them lol) .

Why would you do it? It is proven that asking yourself questions about the material enhances understanding and remembrance. Additionally, you can instantly quiz yourself on the material. Only reading your summary is not going to help you much with remembering, but actively retrieving information is! Also, when you’re reading and summarising the textbook throughout the semester, you’re already getting your study material for the test ready => less stress and work for when you gotta study.

2. Teach your peer / pet / pillow

How do you do it? Explain key concepts (many books provide these at the beginning or end of the chapter) to anyone who wants to listen. Don’t have anyone who wants to? Your cat probably won’t mind (but who knows what cats want tbh) and your reflection is always listening to you as well. 

Why would you do it? Explaining things to other people requires you to really understand what you are talking about, and you will more quickly find holes in your knowledge once you’re not able to explain it. Additionally, you’re probably gonna have to explain stuff on tests so it’s good practice.

3. Re-do your homework

How do you do it? Pretty obvious. Well, don’t write every answer down in detail again! For maths it may be useful to only tackle the most important exercises again, while for history you may want to spend an hour to just go over them all and test in your head if you can form a sensible answer.

Why would you do it? Going over the homework is always a good idea because 1) the theory is practically applied in those questions, so you have to think about what you have learned, enhancing integration, and 2) teachers are lazy and will often reuse or slightly modify textbook questions.

anonymous asked:

What would be Shizuo's reaction to finding out Izaya has been in love with him since the moment they met and how fragile his heart really is? Would he even care Izaya is in a wheelchair?

I noticed something that I wanted to expand on but I think I can expand it along with your question haha.

Well, he would care. Regardless of his feelings towards Izaya it’s likely he would care because in his interview he said this:

…Anyway, if you’re going to make an opponent of that flea, don’t think of him as a human. It’s better to think of him as a zombie or something.

He probably mistakes himself of being human.

There’s no reason to treat him as a human. In many meanings.

One reason Shizuo thinks Izaya isn’t human (or refuses to acknowledge him as human) seems to be because Izaya is like a zombie in that he keeps coming back because he doesn’t ever seem to be beaten down.  

So if he knows Izaya is in a wheelchair he’d definitely care, because well it goes against his perception of Izaya as a zombie and would make him seem more human. That Izaya can and actually did get hurt - by his hand.

That ‘attachment’ of his…When there is one thing he has an eye on, it’s honestly ominous how focused he’ll become on it to where even your own life is irrelevant.

If there is any ‘fear’ towards him it would be that one point.

So, watch out. First, his own life is secondary to him. Anytime I thought “with this he’ll lay off,” he’ll take another step forward and come at me again.

Shizuo also thinks Izaya has no fear for his life. Unlike those people he beats up, Izaya not only is able to avoid his attacks, but he comes back and bothers Shizuo again and again because he has no fear of Shizuo killing him. Shizuo has taken it to mean that Izaya has no fear of losing his life.

Because I am lazy I’m not going to search through my likes, but I recall that Izaya is afraid of Shizuo now, and his fear has extended to the extent that he flinched (or showed some form of apprehension) when told that someone could lift up a vending machine and asked how far he could throw it (that someone couldn’t throw a vending machine) So he’s definitely fearful for his life.

And this is just my interpretation, but Shizuo’s ‘fear’ towards Izaya could be that of hurting him. Or him ruining his peace. But since Izaya has ruined Shizuo’s peace but Shizuo has always managed to get it back I’ll go with the first one, Shizuo doesn’t want to hurt anyone even if it’s Izaya. Throughout the passage Shizuo uses words like ‘fear’ ‘ominous’ ‘dangerous’ as if he’s apprehensive of something, and I don’t believe it’s just of Izaya ruining his peace. 

Either way Shizuo seems to think Izaya doesn’t treasure his life but he does - his feelings towards Shizuo just transcends that. So that’s an assumption on Shizuo’s part, an assumption which would be revoked if he saw Izaya in a wheelchair and scared of him. So he would care. Either for a logical or emotional reason.

As for Shizuo’s reaction, well, it’s a bit unlikely Shizuo would find out, even if my theory is accurate, I can’t imagine Izaya telling him of his feelings. But for how fragile his heart is, it’s possible he could (or has already) find/found that out from Shinra. And if he knows that while seeing Izaya, well it could make him more human in his eyes.

It’s ‘good’ that they had that death match because it ended up with Izaya in a wheelchair - and not dead. We now know just like Izaya refused to acknowledge Shizuo as human and called him a monster, Shizuo refuses to acknowledge Izaya as human and thinks he’s some kind of zombie (like Saika?). Part of the reason why he said there’s no meaning to Izaya being human could be because Izaya seems ‘invincible’ in that he seems to have no fear for his life and doesn’t get hurt and has no emotions (in that he’s not afraid or scared), nothing like humans who encounter a monster like him. 

So now Izaya after their death match seems to have the two things Shizuo thought he lacked - emotional fear and physical disability. Which would humanize him in Shizuo’s eyes.

Keep reading

Jeff Kaplan himself could break into my house and tell that's what Reyes sounds like and I still wouldn't believe him
hands held higher, ch. 8

fandom: fullmetal alchemist
rating: teen and up
warnings: canon typical violence, excessively long like wtf
pairings: eventual russedling
summary: In his quest for the Philosopher’s Stone, Amestris’ youngest State Alchemist uncovers a nationwide conspiracy that threatens everything he holds dear. Sound familiar? Not quite.
notes: thanks for everyone’s kind words. they’re part of what keeps me cranking out chapters. ♥ likes are great, but comments and reblogs are super-mega-ultra great. ;) enjoy!

read on ao3 or ffn

anonymous asked:

Do you think Arya is a mummer? All her identity changes are her playing a role. If so, would that create parallels to Varys? I've noticed she has quite a few similarities with him but I dont know if you noticed them too?

There are so many parallels between Arya and Varys. One of the reasons I get frustrated with people saying that Arya absolutely couldn’t be political/won’t enter into the political realm (even though she has dealt with politics on a smaller scale in her narrative but whatever) is because she’s learning all the skills to do so. See here and here for more details.

The person who is a Master of Whisperers, like Varys, is an extremely important political piece and a member of the small council. Their job is to know things, know everything really, and provide insight for the monarch. They have considerable power (being on the small council) and are arguably one of the most important players in the game. In fact, many people consider Varys the best player in the game- although that one is very open to interpretation and kind of changes by the book.

The Faceless Men are information gathers, their job is to know everything about everyone (sound familiar?) and have an endless list of contacts from courtesans to fish mongers to captains/sailors to “rich old men” to pretty much everyone really- they’re so acknowledged by Braavos as a whole that Jaqen could give Arya that coin knowing that “any man of Braavos” she gave it to would make sure she got to the HoBaW. The Faceless Men have an intense network and unparalleled skills of disguise. 

This is kind of the purpose of the Master of Whisperers, isn’t it?

I mean if you compare the amount of time Arya spends since entering the HoBaW killing or learning how to fight with the amount of time she spends learning to collect and interpret information, how to blend into different cultures and situations, and how to adapt an alternative persona/disguise in order to avoid being recognized, there’s no comparison.

“Learn three new things before you come back to us,” the kindly man had commanded Cat, when he sent her forth into the city. She always did. Sometimes it was no more than three new words of the Braavosi tongue. Sometimes she brought back sailor’s tales, of strange and wondrous happenings from the wide wet world beyond the isles of Braavos, wars and rains of toads and dragons hatching. Sometimes she learned three new japes or three new riddles, or tricks of this trade or the other. And every so often, she would learn some secret.

Braavos was a city made for secrets, a city of fogs and masks and whispers. Arya, AFFC

Much of Arya’s training is listening and observing so she can report back with new things to the FM. She even spends time blending in as a harmless blind girl in the Inn of the Green Eel listening in on sailors and other patrons’ conversations to accumulate knowledge. 

“Tormo Fregar will be the new sealord.”

“Is that what they are saying at the Inn of the Green Eel?”


The kindly man took a bite of his egg. The girl heard him chewing. He never spoke with his mouth full. He swallowed, and said, “Some men say there is wisdom in wine. Such men are fools. At other inns other names are being bruited about, never doubt.” He took another bite of egg, chewed, swallowed. “What three new things do you know, that you did not know before?”

“I know that some men are saying that Tormo Fregar will surely be the new sealord,” she answered. “Some drunken men.”

“Better. And what else do you know?" Arya, ADWD

Not to mention that the KM stresses the importance of discerning the useful from the useless, what is being said and how that should be taken. He corrects Arya and reminds her of who her sources are. 

Arya also learns the importance of not only gathering secrets but hiding them from all who might be listening, the best liars and information gatherers:

She mouthed the names silently. In the House of Black and White, you never knew who might be listening. Arya, ADWD

And the FM’s disguises are even better than mummer’s, though Arya’s learning those, too:

"Mummers change their faces with artifice,” the kindly man was saying, “and sorcerers use glamors, weaving light and shadow and desire to make illusions that trick the eye. These arts you shall learn, but what we do here goes deeper. Wise men can see through artifice, and glamors dissolve before sharp eyes, but the face you are about to don will be as true and solid as that face you were born with." Arya, ADWD

"These arts you shall learn” meaning Arya will both be capable of utilizing mummer arts and sorcery to disguise herself as well as the FM tactics. She’s supposedly going to be so talented that no one will see through her disguise.

Perhaps even disguising her voice:

She did not remember ever hearing his voice before, but what was there to say that the servants of the Many-Faced God could not change their voices as easily as they did their faces? Arya, ADWD

Since that ended up being the Kindly Man, I think it’s safe to assume that they can and do disguise voices. 

And Arya is by far one of the best liars and interpreters of deception in the entire series- definitely the best of the POVs:

 In the evening she played the lying game with the waif, but without eyes to see the game was very different. Sometimes all she had to go on was tone and choice of words; other times the waif allowed her to lay hands upon her face. At first the game was much, much harder, the next thing to impossible … but just when she was near the point of screaming with frustration, it all became much easier. She learned to hear the lies, to feel them in the play of the muscles around the mouth and eyes. Arya, ADWD

Arya can literally hear the difference in the tone or word choice to discern whether one of the most skilled liars, a faceless man, is deceiving her. 

And then there’s the focus on “ruling your face”, which would be incredibly useful as a Master of Whisperers/spymaster/information gatherer:

Rule your face, she told herself. My smile is my servant, he should come at my command. Arya, AFFC

There’s also the emphasis placed on becoming a skilled polyglot, understanding cultures/customs, blending into crowds, choosing disguises and aliases and backstories, ect.

In some ways, Arya has become/is becoming the ultimate mummer and spymaster.

What skills differentiate Arya from Varys really? Oh, of course he is far more experienced and already has a network of his “little birds”, but Arya is learning and developing everything to be at least as good as him. The actual skills, the foundations, are already there (or implied to be there by the next book.)

The parallels are extreme actually. To be honest, if we didn’t know that the FM were an assassin’s guild, then I don’t know why anyone would think they are (barring Arya’s only assassination at the end of ADWD.) Almost everything they’re teaching her is more in line with spying than assassinating- though nothing says those two things must be exclusive. They seem to be an organization of both information gathers and assassins.

None of this is to say that Arya will be a Master of Whisperers at the end of the series or that she’s like Varys in terms of personality or characterization, but the parallels in tactics used and skills learned are apparent. 


Phantom of the Opera first editions take four. [x] [x] [x] (aka welcome to my continued exploration of what you can find in the catacombs of eBay)

Well, let me clarify. This is not a first edition of Phantom itself. Rather it is a first edition of one of Leroux’s primary sources for writing Phantom.

This is a copy of Le roi Fialar, which was a collection of Scandinavian poetry, translated into French prose by Hippolyte Valmore in 1879. Included in this volume was a French translation of “Den første sorg,” or “The First Sorrow,” a poem written in 1836 by the Norwegian poet, Andreas Munch. This poem started out, “Den lille Lotte tenkte på alt og ingenting,” or “Little Lotte thought of everything and nothing.” Sound familiar? :D

This is the text that Gaston Leroux worked from to create Daddy Daaé’s story of Little Lotte, as well as his tale of the king on the mountain lake.

For a link to a translation of the original poem, click here.

To read more about the symbolism of the original Little Lotte poem, “Den første sorg,” click here.

The credit goes to the amazing Operafantomet for bringing this poem to the attention of the Phandom.

First of all, note the similarities here between Andreas Munch’s  translated poem, “Le lac de la montagne” (“The Mountain Lake”), and Daddy Daaé’s tale of the king on the mountain lake.

As always, these translations are written by Caitlin Freeman, copyright © 2014.

MUNCH: Un soir, j'étais assis dans une petite nacelle sur une de ces eaux tranquilles et profondes qui s'ouvrent comme un œil brillant de pleurs au milieu des monts de la Norvège.

(TRANSLATION: One evening, I sat in a little rowboat on one of those lakes, placid and deep, which open like an eye shining with tears amidst the mountains of Norway.)

LEROUX: Un roi s’était assis dans une petite nacelle, sur une de ces eaux tranquilles et profondes qui s’ouvrent comme un œil brillant au milieu des monts de la Norvège…

(TRANSLATION: A king sat in a little rowboat on one of those lakes, placid and deep, which open like a shining eye amidst the mountains of Norway…)

But the pièce de résistance is Leroux’s use of Munch’s “Den første sorg,” here translated as “Le premier chagrin d’un enfant,” or “A Child’s First Sorrow”:

MUNCH: La petite Lotte pensait à tout et ne pensait à rien. Oiseau d'été, elle planait dans les rayons d'or du soleil, portant sur ses boucles blondes sa couronne printanière. Son âme était aussi claire, aussi bleue que son regard.

Elle câlinait sa mère, elle était fidèle à sa poupée, avait grand soin de sa robe et de ses souliers rouges; mais elle amait par-dessus toutes choses un petit oiseau que son père avait pris sur la neige, à Noël.

(TRANSLATION: Little Lotte thought of everything and nothing. Summer bird, she soared through the golden rays of the sun, wearing her springtime wreath on her blonde curls. Her soul was as clear and as blue as her eyes.

“She doted on her mother, she was devoted to her doll, she took great care of her dress and her red shoes; but she loved above all things a little bird that he father had captured on the snow at Christmas.”)

LEROUX: “La petite Lotte pensait à tout et ne pensait à rien. Oiseau d’été, elle planait dans les rayons d’or du soleil, portant sur ses boucles blondes sa couronne printanière. Son âme était aussi claire, aussi bleue que son regard.

“Elle câlinait sa mère, elle était fidèle à sa poupée, avait grand soin de sa robe, de ses souliers rouges et de son violon, mais elle aimait, par-dessus toutes choses, entendre en s’endormant l’Ange de la musique.”

(TRANSLATION: “Little Lotte thought of everything and nothing. Summer bird, she soared through the golden rays of the sun, wearing her springtime wreath on her blonde curls. Her soul was as clear and as blue as her eyes.

“She doted on her mother, she was devoted to her doll, she took great care of her dress, her red shoes, and her violin, but she loved, above all things, when she fell asleep to listen to the Angel of Music.”)

Thus one can see how Leroux both drew inspiration from and adapted Munch’s translated poetry to create Christine’s backstory, as well as her character arc with Erik, in The Phantom of the Opera.

elfinmirror  asked:

Hi Caitlin! Sorry if I'm bothering you - but I was thinking about the poem "The first sorrow". Aside from the obvious identification Christine = Little Lotte, do you think the bird can be seen as a metaphor for Christine as well? As in, someone being held prisoner (as it were) by one who loves them dearly - and whom they might even love in return? The bird dies, but Christine survives because Erik lets her have her freedom .. and instead dies himself. Ok, im prob. reading too much into this.

Hi Elf! Oh, gosh, are you kidding! I love talking about the Little Lotte poem! :D

So for those of you who are unfamiliar with what we are referring to, in 1836, the Norwegian poet, Andreas Munch, wrote a poem called “Den første sorg,” or “The First Sorrow.” This poem started out, “Den lille Lotte tenkte på alt og ingenting,” or “Little Lotte thought of everything and nothing.” Sound familiar? :D Yes, this is the poem on which Gaston Leroux based Daddy Daaé’s story of Little Lotte.

In 1879, a French prose translation of Munch’s poem was included in a collection of Scandinavian poetry called Le roi Fialar. This is the book in which Leroux first encountered La petite Lotte (Little Lotte). Leroux then adapted this poem for use in The Phantom of the Opera.

The existence of “Den første sorg” was first brought to the attention of the phandom by the amazing Operafantomet back in the mid-2000s, I believe.

Here is the English translation of “Den første sorg” on Alvadee’s blog.

Note: in the English translation, you will notice that the word “butterfly” appears in the first stanza instead of “summer bird,” as in Leroux’s version. This is because a mistranslation was introduced into Le roi Fialar, which translated the Norwegian word “sommerfugl,” or “butterfly,” as “oiseau d’été,” or “summer bird.” To be fair (as I understand it), the words “sommer” and “fugl” taken separately do mean “summer bird.”

However, based on this mistranslation, Leroux was able to create parallels between Erik and Christine. By association with Lotte, Christine is a “oiseau d’été” (summer bird), and in Apollo’s Lyre, Leroux refers to her as a “hirondelle” (swallow). Then also in Apollo’s Lyre, Leroux (and Christine) refer to Erik as a “oiseau de nuit” (night bird), and Raoul states that he wants to nail Erik to the Lyre of Apollo like the Bretons nail owls to the walls of their farm houses. In this way, Leroux casts Christine and Erik as mirror reflections of each other; she is a bird of the day, and he a bird of the night.

Now, if you haven’t already, I want you to go read the English translation of the Little Lotte poem, and then come back to this post.

Have you read it? Okay, let’s move forward.

Now, to answer your question, Elf, Lotte and her bird each have parallels to both Erik and Christine. Further, they can at various points in the poem be seen simultaneously as Erik AND as Christine. You are spot on in your reading of Leroux’s use of Munch’s poem.

Leroux tells us that Christine is like Lotte, with her blonde hair, blue eyes, and charming, naive demeanor. We can also surmise, based on the substitution of the bird for the Angel of Music in Phantom, that there is a connection between Erik and the bird. (And of course, in both versions, there is a father who makes the acquaintance between the two of them.)

But here’s where it gets really interesting. Based on the events in the poem, we can also see strong parallels between Lotte and Erik, as Lotte nourishes, comforts, and loves her captive songbird, but doesn’t understand that the bird longs to be free as springtime approaches. And we can also see parallels between the bird and Christine, as the little creature slowly starts to perish due to its confinement.

Next, when the bird dies, there is once again a strong parallel between Lotte and Christine.

In “The First Sorrow,” Munch writes (in translation):

“And, at she stood there silent, she became so strange
Before her clear eyes a fog grew
The sweet childhood blush faded from her cheeks
And slowly from her heart a dark pain arose.

“She could not know, what this pain was;
But sorrow had written its first rune in her heart
And marked its image deep on her soft features
No longer did it disappear with her last tear.”

Similarly, in Phantom, Erik tells Christine (when she asks to hear his Don Juan Triumphant):

“Voyez-vous, Christine, il y a une musique si terrible qu’elle consume tous ceux qui l’approchent. Vous n’en êtes pas encore à cette musique-là, heureusement, car vous perdriez vos fraîches couleurs et l’on ne vous reconnaîtrait plus à votre retour à Paris.”


“You see, Christine, there is a music so terrible that it consumes all those who approach it. You have not yet encountered this music, fortunately, for you would lose your youthful glow and no one would recognize you upon your return to Paris.”

Erik’s warning that Christine would be so deeply affected by listening to his music that she would lose her “youthful glow,” and that no one would recognize her when she returned, seems to echo the transformation that Lotte undergoes when she experiences her first sorrow upon seeing her bird’s death.

Finally, in keeping with Leroux’s tradition of trope subversion, unlike Lotte’s bird, Christine does not die at the end of Phantom, but instead frees both herself AND her captor. She secures her liberty while at the same time allowing Erik to make his transformation from Beast to man. And in one last piece of role reversal, Erik as the dying Beast can again be seen as the dying bird (the beast of the wild), who must perish so that the man within him can be freed.

Basically these are their creators/daddies

…fist me daddy //shot

Just thought that i’d show you guys these dweebs fffff

Arthur Holsted (Leather)  - 29 year old virgin nerd who fails at punchlines and flirting to women and just wants to be noticed/appreciated/remembered. Doesn’t know how to explain shit and ends up sweating nervously. (May also faint. Pls handle with care)

George Dark (Old d) - 36 year old Loud alcoholic who acts cool and knows everything he’s doing. Looks like the douchebag that beat your ass in highschool and stole your girl. Too proud of himself and wants to be above everyone/everything else. (Sounds familiar? //coughgooglecough) but is actually a sensitive loser who throws a tantrum whenever he fails. And is actually not married to a physical human because of the ring on his ring finger but is actually married to his work. (Like Sherl)

Pls handle with care
Except George
Nobody likes George

Dear writers of Supernatural-

you would do well to learn from the writers of Frozen.

Keep reading