Loungefly Disney Villains Ursula Crystal Ball Mini Backpack

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Barad, Karen M. 2008. “Posthuman Performativity: Toward an Understanding of How Matter Comes to Matter.” In Material Feminisms, edited by Stacy Alaimo and Susan J. Hekman, 120–154. Bloomington, IN: Indiana University Press. Her best books are the first three Earthsea novels, which reached British audiences during the glory days of Puffin in the early 1970s. They had it all. An archipelago of islands in a world where there are dragons and wizards, sea voyages, dark worship of the powers of death. Writing for children pushed Le Guin slightly against her natural inclinations in three respects. It forced her to do plot. It also made her dampen the cultural relativism of her SF: Earthsea does have different peoples with different skin colours and different islands with their own cultures, but in a relatively low-key way. The main thing it did, though, was to enable her to draw on big Arthurian myths (dragons, kings-in-waiting, multiple Merlins), which sent her imagination into overdrive. Writing for children also had less liberating consequences: Earthsea has more conservative intellectual foundations than her writing for adults from the same period. Wizards of Earthsea get their power by speaking the Old Speech, or ‘the language of the making’, by which Earthsea and all in it were summoned into being in the first place. This remains the natural language of dragons, but can be learned by (male) wizards. The language-magic of Earthsea has its roots in the Tao Te Ching of Lao Tzu, which Le Guin described as ‘my father’s favourite book’. She published an English version in 1997:

I jest – but only a little. Conflicts and inner turmoil are the substance of many of our stories. I’m just inclined to think they are often not enough, and that we emphasise conflict at the expense of other things and at the risk of creating further conflict in the world. Conflict is one kind of behavior. There are others, equally important in any human life, such as relating, finding, losing, bearing, discovering, parting, changing. Change is the universal aspect of all these sources of story. Story is something moving, something happening, something or somebody changing.I wore this with my newest Lindybop Dress and I’m super excited to take my other Ursula bag out. With her being bright purple, I haven’t found the right outfit yet, but I will and I’ll post about her in the future.

Plenty of stories have conflict to the max. I love looking at the Hero’s Journey. And I love horror movies and westerns and Who’s Afraid of Virginia Woolf? and the tortured psychodramas of Tennessee Williams. Gough, Noel. 1998. “Reflections and Diffractions: Functions of Fiction in Curriculum Inquiry.” In Curriculum: Toward New Identities, edited by William F. Pinar, 93–127. New York, NY: Garland Publishing Inc. Wizards, like the Taoist sage, have to observe the balance of the whole rather than make use of the power of naming to dominate their world. Just as light is the left hand of darkness, so lighting a candle creates a shadow. The wizards in Earthsea look after goats, live chastely, have power but do not deploy it and always seek to keep the world in balance. T here​ was a big gap between the first Earthsea trilogy (1968-73) and the final books: Tehanu (1990), Tales from Earthsea (2001) and The Other Wind (2001). During that period Le Guin thought about many things, including sexual politics. The Gandalf model of wizardly power – the idea, dumbly replicated by J.K. Rowling’s Dumbledore, that asexual male mages hold the world in balance – was never compatible with Le Guin’s deep unease about overt expressions of power. That incompatibility made her ask questions about the foundations of Earthsea. The wizards on the island of Roke have become blinkered bachelor dons, who treat all women like faculty wives: they simply refuse to hear them when they say things that are true. Meanwhile the Old Speech, with its direct equation between name, thing and power, begins to fade away. When Le Guin was asked in 2001 if she intended the later books to retract the earlier Earthsea series she gave a characteristically tart response: ‘If the second trilogy invalidated, or retracted, or revoked the first one, I wouldn’t have written it.’ The big book that came between the Earthsea of the 1970s and that of the 1990s was Always Coming Home (1985), which Le Guin described as ‘one of my most neglected and most central books’. Like many works in which an author invests too much, Always Coming Home reveals a lot about Le Guin without showing her at her best. It attempts to describe an imagined world as fully as possible while trying to do without plot. It’s set in a future, probably post-apocalyptic California, where there are multiple tribal cultures, whose dances and poems and myths and music, whose languages and sexual mores, are all described at length by an anthropological observer. Both Le Guin’s parents were anthropologists, and her mother wrote an immensely successful book about the last known member of the Native American Yahi people. In Always Coming Home, Le Guin is remaking the family trade as fiction. The Kesh are gently pastoral, while the Condor tribe is warlike. There are massive but not overtly hostile data hubs in the City which operate separately from the small ritualised communities in the Valley of the Kesh, but the novel doesn’t present this neo-pastoral world as the revenge of nature on crazy overreaching technology.She explains that in perpetuating the tradition of telling stories in a linear way we miss out so much ‘stuff’, parts of the story that don’t fit the ordained narrative perhaps or aspects of ourselves or experiences that aren’t seen as relevant to the story we are writing. We need life stories, as well as killer stories. We need truths. In storytelling, conflict is not enough. Berman, Morris. 2000. Wandering God: A Study in Nomadic Spirituality. Albany, NY: State University of New York Press.

The session was organised into three stages. In the first stage, the students were asked to choose one of their objects and tell the group the story of how it related to their doctoral research or journey. In stage two they choose another object and wrote and then shared 30 words about how it was significant to them, and in the final stage, they wrote 3 words encapsulating the relevance of the last object. Gough, Noel. 2010. “Performing Imaginative Inquiry: Narrative Experiments and Rhizosemiotic Play.” In Imagination in Educational Theory and Practice: A Many-sided Vision, edited by Thomas William Nielsen, Rob Fitzgerald, and Mark Fettes, 42–60. Newcastle upon Tyne: Cambridge Scholars Publishing. I relate this to something Ocean Vuong says in a 2019 podcast, where he is critical of the dominance of conflict-driven plots in the conventions of creative writing: Paul, Anne Murphy. 2012. “Your Brain on Fiction.” The New York Times. Accessed March 20, 2015. http://www.nytimes.com/2012/03/18/opinion/sunday/the-neuroscience-of-your-brain-on-fiction.html.

Beauty and the Beast Chip purse

I really don’t think there’s any such thing as being too old for Disney. I will constantly be listening to Disney song playlists and watch Disney films constantly. My favourite thing to do is put a Disney film on in the living room and then watch as the rest of my family don’t move until it’s gone off. Last weekend it was Moana, my dad loved it! Being a huge Disney fan means that when I first saw the Danielle Nicole Disney Bag Collection, I immediately wanted it all. I’ve been tame to be honest, a lot tamer than I’d like. I actually just kept admiring from afar, waiting for my moment. Braidotti, Rosi. 2011. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. 2nd ed. New York, NY: Columbia University Press.