rebellion against society

smt i can’t stop thinking about: 

mainverse is 1967, the sobibór trials (for the sobibór extermination camp) were from 1965 to 1966, the frankfurt auschwitz trials were 1963 – 1965. erik lehnsherr being too young/too scared/too preoccupied with running from poland and trying to survive to have any reaction to the nuremberg trials (other than a faint, resentful dismissiveness) ––

but ? in the 60s ? starting to establish himself as magneto ?? imagine there being a direct correlation between his radicalisation with the brotherhood and the broadcasting of the trials ?? 

the deliberate and informed decision to murder doctors who worked in mutant labs the brotherhood liberates on the spot ? to murder them in punishing and warning ways? a direct contrast to naz/i officials like bauer being allowed to live after death penalties in west germany etc were abolished ?? the resentment of taking their punishment into his own hands (esp. after his background with the mossad in the 50s, seeing eichmann brought to trial etc and getting no satisfaction from it) ??????

tldr: magneto killing bigots his whole life and never respecting what he thinks is a lenient, corrupt, and flawed justice system (in every country/society) !! never being convinced by charles xavier or the avengers or do-good-ers or anyone else that people are best punished by the justice system ??? 

The worlds created by Tove Jansson and Astrid Lindgren offered the same kind of freedom and rebellion against limitations imposed by society. Each one of the Moomin characters is of equal value, and they are allowed to be as eccentric as they like.
—  Björk on the Moomins and Pippi Longstocking (”Walt Disney was largely unknown [in her childhood]”), Helsingin Sanomat (2010)

pilferingapples  asked:


Okay, I want to talk more about casting choices, racism, and classism in theatre.

There’s this quote from an interview with Liesl Tommy, about Dallas Les Mis:

I thought about that Dallas audience, and I went down to do a couple of site visits, and I wondered, “How am I going to get this primarily white, fairly affluent Dallas audience to care about Les Miserables?”

Theatre has consistently been political, like any form of art. Art is a pushback against oppression, a way for marginalised individuals to express themselves, a way to speak out. Theatre, in of itself, is a political space.

And then you have Les Mis.

Keep reading

@ Christians

I’m sorry but I cannot take you seriously with your rhetoric and your feeling as if expressing your faith is an act of rebellion against society.

On my way to choir practice I saw a billboard for a Christian rock music station that took over the spot from the Houston Public Media classical music broadcast and, kid you not, the billboard said REBEL WITHOUT A CAUSE, except the out was struck out.

How is being an outspoken Christian in a majority Christian society almost worldwide rebellious? That’s not at all rebellion, but a rhetorically violent affirmation of your faith which is already perceived as “normal,” especially in American society.

As looking at the photograph of Arberto Hugo Rojas, it reveals in front of us an image of young Kurdish fighter, wearing a camouflage gear and holding a rifle. Next to her the figure of a male fighter facing off the camera’s gaze can be noticed. The picture probably captures a scene of the preparation before a combat against Daesh. The warm tones of the image highlight the desolate area where the two photographic subjects are positioned. If one observes this image more closely, one can feel at unease, something is going wrong if a woman is taking up arms.

How can we read this image? How can we understand our uneasiness? How can we understand the context of the social surroundings and political aspects in the photo?                            
           First and foremost, so as to answer these questions one needs to accentuate the image’s functions in relations to producing a system of knowledge rather than the intentions of the photographer shooting it. The modern individual is trapped in an era where we get informed through article news, web pages and social media. Our gaze is subject to being institutionalized. Since images are mostly edited and surrounded with text, it is vital to observe how these systems of governing the gaze are used to imply preconceived interpretation. Our first encounter with this photograph was probably through a newspaper or an online article. Our first sight of this photograph is not even its full, uncropped one. The magazine gaze has overtaken the gaze of the spectator(Lutz et all, 2003). What we see is a different image, resized in order to emphasize on the female fighter, to take our attention to her features, facial expressions and “glamorous look”. The title of the article about her death where the female fighter is described as the “Kurdish Angelina Jolie” has a huge impact on the spectator. Our initial  reading of this photo is influenced by how it was presented to us. In order to fully grasp the image, to deterritorialize the sovereign, to take part in reading this photograph based on an ethical duty as Ariella Azoulay puts it, the spectator needs to understand its own responsibility of what is visible, to abandon their passive attitude toward the image and look deeper into their own ethics of seeing (2008; 130).

           This is not the first instance when Western media showed fascination for the YPJ soldiers. For instance, Kurdish female fighter called “Rehana” gained a lot of attention after being murdered. As Dilar Dirik comments: “Reporters often pick the most “attractive” fighters for interviews and exoticise them as “badass” Amazons.”(2014). However, what we can learn from this ongoing obsession about the female freedom fighters is not much about them as it is for the values and stereotypes Western media wants to reassure about the Eastern women. What is evident from the way in which Eastern women are given the platform to raise their voices is that only the ones that are beautiful enough are important to be heard of. This raises question of what notions of beauty the Western media is reinforcing and whether it has been trapped in the ways which the imperialist white-supremacist capitalist patriarchy operates (hooks,2000). In both cases the representation of the killed Kurdish women was made in a specific way underlining not their political agenda, but their appearance, body and gender. The overabundance of media attention they receive on the basis of her look devalue the struggle of Kurdish independence and fight against Daesh.

           This images were picked up by western feminists as an example of way of rebellion against the patriarchal eastern society where women are more subordinated than in Europe and USA. However, this way of interpreting the images is decontextualizing the complex message of the images and setting an orientalist way of seeing. As bell hooks states, the fight to end sexist oppression is universal and the beginning of the fight against male domination was not started by white Western women. She argues that the “sexist practices in relation to women’s bodies globally are linked”(2000;46).  Moreover, Kurdish women were part of the struggle for independence for many years before the first western woman was allowed to join the military. Which leads us to the important questions which this image raises – Whether eastern women are sorely fighting against patriarchy or their fight can be intersecting between class, gender and nationality? Can Eastern women be acknowledged for their gender-egalitarian governance demand and do we care about the core of their political struggle?

           The trends of interpretation this image has created over time have had the similar one-sided approach at looking at this image. The unease we feel at or first encounter is not merely due to the sexist oppression in the Middle East nor the death of a beautiful looking young girl. It may include these conceptions, however, if we look carefully, the forgotten scenes of horror of a whole nation trying to maintain their lives as they fled place by place will unveil. It will evoke our disgust for ourselves as we realize that these women are fighting for their freedom, struggling against displacement, mass murder and systematic assimilation across four different countries. We will  see an ongoing resistance against terrorism, settle colonialism, patriarchy and fascism.  We will not see actress Angelina Jolie, the Hollywood millionerd, but Asia Ramazan Antar, a Kurdish YPJ female fighter fighting her own fight for democracy. According to Ariealla Azoulay, photography’s critics emphasize on the fact that photography has the ability to be perceived falsely forgetting that it can also allude us to the truth (2008;). To decolonize the media’s myopia, one need to attempt destroying what was oversimplicity written and interrogate distortions of people’s life experiences.  Even if we have the postcolonial emancipatory image in front of us, it is the spectator duty to look critically, overturn the attempt of media to simplify the intersectional identity of the subject of photography. If we look at Asia Ramazan Antar not just as a beautiful female fighting against rigid sexist roles but as individual with personal engagement to the world, we will equip ourselves with a photography as a tool of decolonization of our minds, photography as a radical way of seeing.

           Notwithstanding the above one question remains: Are we ready to decolonize ourselves?

anonymous asked:

I have a question about an OC I'm making. Do you think it'd be weird to make their Persona Elphaba from the book Wicked?

I think that’s a cool idea! Elphaba is the Wicked Witch of the West in the Wizard of Oz, and her past is…well…troubled. She is the illegitimate child of the Wizard of Oz after he drugged and raped her biological mother Melena Throp, and she was eventually driven insane by the want of her step-father’s approval (HMMM…how interesting cough Akechi cough). Our main cast’s personas are based off of famous literary characters, and I think that Elphaba can fit in with that to an extent, being a symbol of rebellion against what society believed to be good (The Wizard of Oz). So TL;DR, I don’t think it’s weird at all!

anonymous asked:

Hi. My story has a huge twist at the end, and so I can't quite figure out what to do with it. Basically teen protagonist leads a rebellion against her oppressive society with the help of a god, but the twist is that the god is sorta the god of anarchy and insanity So it turns from a civil war dystopian political-ish story to psychological horror tragedy where the victim happens to be a respected political figure. I can't figure out how to outline it and stuff, I'm currently stuck at the (1/2)

(2/2) beginning with MC homeless but with a small group of people who, like her, are against the government. She does have some assets, though, one character is a computer geek, her father was a politician, and she stole a formal suit from home. Right now, my plan is for her to inspire the others (who are kinda just sitting there trying not to get caught by police) to actually stand up and rebel, but I just don’t know how to do this. I can provide you with the story so far, if necessary. Thanks!

The first thing I will suggest is organization. It seems to me that you have a big idea, but no way to structure it. 

Refer back to my story structure ask that can be found here. Try finding a climax, an inciting incident, and an ending for your story to start. By giving it structure, it will be easy to figure out your purpose for writing. 

I will also say this: when you finally get a story structure and a timeline set up, you may want to make a list of events that will inspire your story’s population. Inspiration is very difficult to write, so you must figure out where the right places to throw that in will be. Something tells me that 90% of that inspiration will take place in your exposition. 

I suggest making a list of events in which the characters will be inspired, and then building each event up into a unique scene. It isn’t enough to simply make a big long speech about freedom. Readers will not feel anything from that. You need to connect these moments to the plot and build the reader up to want to be inspired. 

Finally, I suggest really working that anarchy God to death. By this I mean do basic character building questions, then make a timeline of his/her/they’re character arc until the big reveal happens. This will help you build up to that reveal, throwing little hints into the narrative to get your reader’s brains working. 

I really hope I could help! I think the big outlining post I’m currently working on will really help you!

I’d also love to read what you have! 

-Olivia Paige

The most respected and influential nurse leaders in our history shared similar ideals; They never forgot what it meant to be a bedside nurse. They understood, that in order for a change to occur, there must still exist a value on each person, and the ordinary tasks they perform every day. Their vision was built on respect for their contemporaries, and often a wicked sense of rebellion against society. Their road was long, and the opposition they encountered did not deter them. They defied odds that challenged them to conform, and relentlessly paved the way for future nurses to continue on to make their own unique mark in history - all the while never, ever forgetting that true change begins with the frontline of our profession, and a desire to create a stronger foundation in nursing.
—  Nurse X

Fact #264: Loving yourself while being trans, for being trans, is an act of cool as heck rebellion against a society that consatntly tells us to hate ourselves. Viewing yourself in a positive way while constantly being bombarded with negativity is something you should be proud of being able to do.

Persona 5 PV#02 Leaked Images Analyses / Theories

So who else is hyped for this trailer?  Although we’ve only been given about four images so far, they’re actually coded with lots of information about the game’s story and themes.  Sneaky Atlus!

First, this image contains the message “Steal Back Your Future”, which we’ve seen before in various promos, with a red eye.  They are written on tiles in both tiles, which is most likely chosen for its style but also possibly a reference to calling cards that the phantom thief, whose image is evoked by the MC, uses. 

Behind the words “Steal Back Your Future”, we see space-like lines drawn out from the eye.  We know that “Steal” could be a reference to the various heists, and also the power the characters have to control their future in superhero goals or student life through their rebellion against society.  However, because the tagline also references the future, it is possible that speed or time limits may be in this game, considering that each heist takes place at night under high circumstances, or the city setting of this game, known for its high action, hectic work, etc.  Furthermore, the font style used for the first game used the idea of a racing flag, further emphasizing the idea of speed.

In addition, this picture of an eye appears to be at an unnatural color.  This suggests the idea that the supernatural is subtly present in this scene.  Maybe Morgana also has the power to travel through time? (throwing out wild speculation here.)

The second image appears to be Ryuuji screaming in pain, while his eyes are yellow.  His face is covered with mental strain and fatigue to the point where he is frothing at the mouth.  It appears to be some sort of possession, similar to how the Persona 5 protagonist seemed to be possessed by a blue, flaming Shadow (with similar yellow eyes, (discussed more in the Shadow Possession Theory)).

In the third image below, we get to see Anne, who seems frightened by the hand reaching out to her from the player’s perspective, followed by P5 MC and Ryuuji.  Is this fourth member possibly a human Morgana?  Or maybe the man we see in the fifth picture?  The two below seem slightly protective of Anne.  (Could this be Morgana’s first appearance?)

Another theory could be that this hand is not actually an important player character and may just be some ol’ sleezebag trying to feel up Anne, based on her horrified expression and the reaction of the P5 MC and Ryuuji (since we all know that that’s the kind of stuff P5 likes to tackle, amiright?)

This last picture is the last and most important picture of them all.  (In fact, I may make a separate post just with this picture.)  Here, we can see a humanoid figure with blue hair and the school uniform dancing around the lyrics “Never, never, never, give in”, which may allude to the strife that the characters go through in order to attain the freedom which Japanese society disapproves of.

“Never, never, never give in!”

What’s also peculiar about this scene is that the boy dancing in this video is both never seen before and someone who resembles a past character in the Persona franchise, Jun Kurosu, albeit his hairstyle is flipped.  (Someone suggested that this could be Morgana as the fourth main character instead, but maybe, like Nyarly, Morgana imitates someone from P2?)

Assuming that the character in the picture is supposed to resemble Jun, it would make sense to see someone who was the Joker and has his own style reappear in this kind of game.  In Persona 2, the Joker appeared with a card motif, (sort of like gentleman thief, on a stretch), and acted out of anger and escapism towards his friends when he thought that they had betrayed him in the past.  He was partially influenced by the idea of being the Joker, or a Power Ranger, which he and his friends used to play, whenever he acted out in pain.  (This is a very loose summary of what went on in Persona 2 and since my memory is vague I probably messed up on some of the facts but I hope the basic idea is there.  Will edit again later.)

There you go!  All of my theories for now.  Time for the trailer!

💜 📻 🌙 Wtnv asks 🌙 📻 💜
  • Old woman Josie: what is your religion
  • Steve Carlsberg: what is your pet peeve
  • Teddy Williams: do you like bowling
  • Carlos: what is your sexuality
  • Cecil: what do you look like
  • Dana: if you disappeared one day, who would miss you most
  • And who would you miss most
  • Fey: would you rather have safety or freedom
  • Apache tracker: what is your favorite animal
  • Pamela winchell: would you rather be mayor or mayo
  • Megan: have you ever had any operations
  • Tamika Flynn: biggest rebellion against society
  • Idk if these have already been done, but leave some in my ask?
Shingeki No Kyojin Tattoo!AU

Pairing: Ereri

Summary: When getting a tattoo, Levi likes to think that each individual one shows off his uniqueness. Sometimes he would even do some research before getting himself inked, however, when a trip to Germany leaves a mistake on his wrist, he’s disappointed in himself. After pondering on the idea of removing it, he meets an interesting young man with a brand that could make anyone blush. His newest tattoo doesn’t seem so bad anymore. 

Keep reading


Careful, now.

anonymous asked:

do you have head cannons for chubby enjolras???

Hear me out :

  • Chubby!Enjolras who realised loving himself was the best act of rebellion against a society who twists your body image for its own profits
  • Chubby!Enjolras who doesn’t give a fuck when his mother comments on his weight because “There is more of me in the world, how is that a bad thing?”
  • Chubby!Enjolras who slays body-shaming fuckers with his trademark comeback “Don’t be jealous if the center of the Earth is more attracted to me than you.”
  • Chubby!Enjolras who gets called “cherub” and “Renaissance canon of beauty” by Grantaire and gets painted over and over because he’s a goddamn awesome muse
  • Chubby!Enjolras who’s the most body positive fucker in the realm
  • (▰˘◡˘▰)
on “punks”

people who are like “I’m so punk rock, dude” because they think punk is about jacket spikes, moshing, and beer are fucking embarrassing. 

I don’t know that it’s possible for punk to be apolitical. you can rebel against your parents and your teachers at school as much as you want, but true rebellion attacks people in power. if your rebellion stops after you turn eighteen and you no longer have parents to tell to fuck off, and you no longer have classes to fail, congrats, you missed the point.

please, spare me how punk you are because you beat up kids in the pit at shows and flip off cops. if your rebellious attitude was worth anything more than half baked hand-me-down slogans to shout on the street and print on tee-shirts, you’d be taking aim at societal power structures: global white supremacy, the racism of policing, the patriarchy, the rampant queerphobia that continues to thrive right under our noses, capitalism’s effect on low-income families, the destruction of the environment, and so on and so on.

there are endless injustices in the world happening right now. if you’re wasting your anger and your resources on some punk rock pseudo-rebellion against how society “oppresses” you and your green mohawk, congratulations, you missed the whole fucking point.

The Romantic idea of the hero, derived from the concept of the sublime, stands in contradiction to the classical epic notion of the hero as one devoted to the welfare of his family and people. The Romantic hero is individual, alone against the world, self-assertive, ambitious, powerful, and liberator in rebellion against the society that blocks the way of progress toward liberty, beauty, and love; the Romantics read these qualities into Milton’s Satan.

-  Jeffrey Burton Russell; “The Romantic Devil”