yknow if romeo had just Cried on juliets corpse for a couple hours instead of drinking poison Right Then they would have been Fine
The moral of the story is: always take time to cry for a few hours before making important decisions.
So I’m more or less being facetious here, but this is actually a thing.
Hamlet is genre savvy. Hamlet knows how Tragedies work, and he’s not going to rush in and get stabby without making absolutely certain he’s got all the facts.
Except once he thinks he has all the facts – once he’s certain that it really is the ghost of his father and Claudius really did kill him, he rushes in and stabs the wrong guy, which starts a domino line of deaths and gets Laertes embroiled in his own revenge tragedy and ultimately results in the deaths of nearly every character other than Horatio.
That’s the irony and the tragedy of the story. Hamlet knows his tropes and actively tries to avoid them, and the tropes get him anyway. It’s inevitable, the tropes are hungry.
I want a sticker that says the tropes are hungry so I can put it on my laptop
i met a scholar once who said that tragedies aren’t about a silly “flaw” or anything, it’s about having a hero who’s just in the wrong goddamn story
if hamlet swapped places with othello he wouldn’t be duped by any of iago’s shit, he’d sit down & have a good think & actually examine the facts before taking action. meanwhile in denmark, othello would have killed claudius before act 2 could even start. but instead nope, they’re both in situations where their greatest strengths are totally useless and now we’ve got all these bodies to bury.
The tropes are hungry and the hero is in the wrong goddamn story.
4kids when dubbing ygo villains: let’s give them voices that are the opposite of what they should sound like
4kids: “Okay, so in the original version, Yami Bakura had a young, rather bratty sounding voice. That’s good, that suits the fact he inhabits the body of a teenager. Let’s get Ted Lewis in and make him sound like a 30 year old chain smoker instead.”
“And, let’s see…Marik Ishtar…quite a calm, rather smooth voice, if we do say so ourselves. Definitely the hint of a villain in there. How about we get Jonathan Todd Ross to constantly hold his nose while he speaks, yeah, that’ll work.”
One… difficulty that I see with this is that there’s a thin line between adaptation of a culture and appropriation of a culture, and a lot of it boils down to why you picked the language you did. Are you carrying over other aspects of Italian culture, such as food, clothing, and customs? Or are you taking the language out of context? Just adding in Portuguese won’t throw readers off enough, if it’s the latter case, and you run the risk of upsetting some readers if your intentions aren’t clear.
What do you consider “Italian”-ness? It might help to compare Italian to other Romance languages, and see if what you consider hallmarks of Italian are consistently markers of Italian and Italian alone. Depending on what you find, you may either look into the different dialects of Italian (Regional Italian, Languages of Italy ), further back in Italian’s history (also History of Latin ), or to linguistic cousins of Italian ( Romance_languages ).
Since you seem to be conlanging a new language a posteriori, I would personally recommend at least three languages, in order to have enough material to work with and avoid looking too much like any one source language. One Reddit thread [ https://www.reddit.com/r/conlangs/comments/370blu/making_a_conlang_based_on_real_languages_how_to/ ] makes an excellent point, with pertinent advice, on how to create new vocabulary in a conlang based on real-life languages. One term I think you may find helpful to know for this is relexification, as it covers the topic of new words being added into language based upon another language’s vocabulary set.
David Crystal has published a book, Cambridge Encyclopedia of Language (ISBN: 978-0-521-51698-3, for the third edition), which should be immensely helpful if you’re able to access it – Cambridge University has a PDF on the book’s front matter, which also lists a table of contents, so you have some starting points to work off of.
Saphira:
If you want to base a language on another language, you may have accidentally made your job a thousand times easier. There are a few components to simple con-langs (I am not educated enough for complex ones, Vulgar gave me the best willies in years), which can be broken down into a few groups.
1. How it looks. These are your characters, your symbols, and your punctuation. This is your visible aesthetic. To fine tune this up, write your letters often. Consider yourself relearning how to write, and the more you do the characters the more they will mutate into chaos. They’ll become consistent and easy to write eventually, and there you go. It’s a wild ride. Enjoy this one.
2. The Vocabulary. This is your dictionary, and honestly the most tedious bit. It can also be a fun part! I would start with casual conversation first (go through characters introducing each other) and you can work out from there. That will allow you to use the language in it’s most basic forms, so you can get the auditory or linguistic feel for how it sounds. Let’s start using Italian here. If there are specific sounds to Italian, specific linguistic tics and cues, start weaving them in here. Avoid whole words, just some auditory cues to the language, or how they pronounce certain letters.
3. Grammar. Here’s where having a base really helps. Granted you’re also working a lot from Latin here. Consider this language of yours Latin’s Grandson. Working from these two languages, it can help how you orient your words in a sentence, how verbs are conjugated, how punctuation (any non-verbal parts of the language) influences the meaning and the speaking of the words. You can literally and directly rip from Italian here. Draw parallels, or simply use Italian as inspirational points, allowing you to use similar concepts in entirely alien ways. You can go as simple or as complex as you want, and learning more about how language works and what a lot of those symbols linguistic study uses will go a long way.
Creating a language is a major undertaking, but in its true form, a language is born and refined in use, not in a lab.
Brainstormed:
Honestly, how much of it will you be using? Names for places and people and cultural things, sure, but the actual story will be (I’m assuming) in English. If all you need is a naming language, that’s pretty simple! You can manually work out a consistent word pattern to use for names, as is guided somewhere in the Language Construction Kit mentioned by Tex, or you can use the free section of the Vulgar language generator to put in Italian-ish phonetics and generate thousands of words. Otherwise, you can look at Italian or other Romance-language slang and see how the slang words evolved from “proper” words, and then twist the rest of the language into a different-sounding version of itself. Kinda like how in future dystopian stories there’s always some corrupted version of a well known name, like Nuyaksee for New York City, or something similar.
If you need a real grammar set, but for simple things like short sentences, common cultural ritual phrases like How are you, or other relatively easy purposes, you can come up with a list of the most common words to quickly learn a language [ https://fluent-forever.com/the-method/vocabulary/base-vocabulary-list/ ] and then use Italian grammar, or another grammar structure. I would recommend using the grammar structure of a different Romance language, to prevent it from being just a copy-paste of Italian with different words.
Making a genuine, in-depth conlang is a huge undertaking, made both easier and more difficult by basing it off an existing language. You might have a good base to start from, but it requires at least decent if not fluent knowledge of how your base language works, and a consistent way of translating it over into your conlang form. If that’s your goal, I recommend you get to know Italian very well, if you don’t already, and then sit down and go through the Language Construction Kit, as it’s probably the best resource to guide you step-by-step through conlang creation.
Dreadlocks are a kind of lock pattern for hair that is very curly. A lock pattern is where the hair twists around and “locks” together.
Black people pretty much exclusively have the tightness of curl needed for a dreadlock pattern, but that doesn’t mean there aren’t other lock pattern hairstyles (such as a peyot, the sidelocks worn by various Jewish groups).
So like “Goldilocks” was named after how her hair took a “lock pattern”, but those locks would be comparatively loose.
This is hair with a looser curl in a lock pattern
Hair with a tighter curl in a lock pattern (Dreadlocks)
Straight hair that has been matted
What’s the difference between the last two?
► Dreadlocks are twisted together neatly, mats are tangled in knots.
► Dreadlocks are healthy hair that can be washed, mats are damaged and often non washable without risking mold.
► Dreads take effort and skill to apply, mats are the product of active destruction and neglect of hair.
► Dreads can be removed. Mats require cutting and shaving.
Now from a cultural standpoint, it’s also shit. Dreadlocks are a symbol on many different levels of Black culture, unity, and resistance to white assimilation. To take them is an act of furthering white assimilation and an act of casual racism.
Especially given that tropes about white hippies with “dreadlocks” have affected how people react to black people with dreadlocks.
So from a practical standpoint we can’t and from an ethical standpoint we shouldn’t.
for all the whites that ignored everything in this post
“…from a practical standpoint you can’t and from an ethical standpoint you shouldn’t.”
FROM A PRACTICAL STANDPOINT YOU CAN’T AND FROM AND ETHICAL STANDPOINT YOU SHOULDN’T!!!
SourFlame 