ravell call

Kvothe is not white

Kvothe is called slurs that reference his race (racial slurs) (Hemme calling Kvothe “ravel bastard,” WMF Ch 9, pg 113) 

He loses opportunities and respect because people are prejudice against his race (racism) (the scene with Meluan and Maer, WMF Ch 139, pg 1096) 

His race is identified by his looks (Meeting Viari, NotW Ch 61, pg 466) 

People make assumptions about him based on his race (specifically about either being a thief or a musician) (Ambrose calling him a thief, NotW Ch 33, pg 312) (Sim saying he never heard anyone play like Kvothe, NotWCh 36, pg 329) 

(Page numbers taken from ebooks)

Please feel free to add examples or ask me any questions  

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竹書房Qpa【クパ】編集部 on Twitter
“5月17日発売『ラベルド・タイトロープ・ノット』緋汰しっぷ 同級生の結婚パーティで再会したのは 10年前に告白され振った男、榛臣。友人・雁屋との思わぬ距離の近さに苛立ちを感じ、初心だと思っていた榛臣の淫らな姿を見せつけられてーー?”

Takeshobo just revealed the cover of the first manga by Hita Shippu called Raveled Tightrope Knot. It will be released on the 17th of May.

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Ravel - Daphnis et Chloé

It’s been an unusually warm winter here in the city. I’ve decided to take another walk while listening to one of my old favorites, a work I haven’t listened to in forever. Ravel’s Daphnis et Chloé was originally music for a ballet based off of Longus’ ancient Greek romance of the same name. Though, with the addition of the wordless choir, and the expansion of the music, and the fact that the music has several leitmotifs that make their appearances across the score, Ravel called a “symphonie choréographique”. Diaghilev, who had commissioned the work, was unhappy at the grand scope, and correctly predicted that the music would outshine the ballet. Now, whenever the work is programmed, it is almost always for concert rather than a staged ballet production. This work is considered by many to be Ravel’s greatest masterpiece, but the video’s poster made a fair point: Ravel wrote many fantastic works for different ensembles and musical goals, so to call the longest and most ambitious one the best is kind of lazy. Better would be to comment on how this work contains the best orchestration the 20th century has to offer. The easiest example to point out would be the beginning of the third part, “Daybreak” [Lever du jour], where Ravel paints a beautiful picture of morning sunlight.