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medievalpoc:

beggars-opera:

I’ve seen a few fashion posts trying to expand the “Marie Antoinette is not Victorian” rant, but this stuff can get complicated, so here is a semi-comprehensive list so everyone knows exactly when all of these eras were.

Please note that this is very basic and that there are sometimes subcategories (especially in the 17th century, Jacobean, Restoration, etc)

And people wonder WHY I complain about History/Art History periodization. Note how much overlap there is to the above “eras”, and how many exceptions and extensions there are to these categories.

Oh, and by the way…

Tudor:

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Elizabethan:

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Stuart:

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Georgian:

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Regency:

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Victorian:

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Edwardian:

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Because you wouldn’t want to be historically inaccurate.

scary-fairy:

Meeting Vic Mignogna at Supanova was awesome. He is so kind. I told him that I came all the way to Perth just to meet him so he told me I deserved something special. He got up from his chair, grabbed my face and kissed me on the cheek. I was so happy I started to cry so he gave me a big hug. Went to his seminar and listened to people ask him questions and then at the end of it he sang for everyone. Went to his table again after to buy his DVD and get it signed. Ah it was the best :)

You failed to mention dem pants

Students of color are allowed to enter the classroom but never on an equal footing. When they walk in, they are subject to the same racial stereotypes and expectations that exist in the larger society. Students of color do not have the advantage of walking into a classroom as individuals; they walk in as black, brown, [yellow] or red persons with all the connotations such racialization raises in the classroom. They do not walk into a classroom where the curriculum embraces their histories. They walk into a classroom where their histories and cultures are distorted, where they feel confused about their own identities, vulnerabilities, and oppressions. There is no level of liberal reforms that can alter these experiences for students of color without directly challenging the larger systems in society.
Critical Race Theory Matters: Education and Ideology | Margaret Zamudio, Caskey Russell, Francisco Rios & Jacquelyn Bridgeman (via sinidentidades)

ofmanynames asked:

Serious question: Do you think it's okay for a white writer to have POC as main characters in their stories? I've gotten feedback from teachers and others ranging from "there's no reason to have X be Y race" to "it's disrespectful to write as another race you're not".

medievalpoc:

yndigot:

medievalpoc:

maryrobinette:

medievalpoc:

Read This

May I just jump in on one point, here? When teachers say, “there’s no reason to have X be Y race” what they really mean is “There’s no reason to have X be a race other than white.” 

Which is bullshit.

There’s no reason to have X be white either.

That whole mindset of only having a character of colour if it “means” something or serves some “purpose” in the story is reinforcing the paradigm of white as the default norm and dominent culture. It’s a really easy trap for white writers to fall into to take a character’s race or ethnicity and make it into a story conflict. A “reason” to be Y race.

While a person’s background will affect how a person handles conflict, your teachers are wrong to insist that people who are Y race need a “reason” to be allowed into a story.

^ Reblog for anyone who that might need that pointed out ;)

In my fiction workshop this past spring semester, I wrote a story in which all the main characters were chicano.

Why were they chicano?  Because I set the story in Texas. Because my family is largely chicanos from Texas. The actual story was about two brothers, now teenagers, dealing with their mother’s suicide, which had happened a number of years earlier when they were both young. The characters didn’t need to be chicano for me to tell that story.  

When my story got workshopped, I was asked repeatedly to ‘explore their cultural/ethnic background’ in subsequent drafts. 

One of the other stories was about a family reunion. It was written by a white writer about a white, southern family, and the experience I described was like nothing I had ever experienced with my family.  The food described was like nothing you’d find when my family gets together. The names were often distinctly white, southern US names. But the story was absolutely not about the experience of being white and southern, it was about families keeping secrets, and there was no reason for the family in the story to be white US southerners.  Still the comments that writer received were all about how relatable his story was, how that was exactly the way family reunions were, and no one asked him to spend more time exploring this family’s southern heritage in subsequent drafts.

I couldn’t help feeling that I was either being asked to justify my characters being chicano by making the story about chicano identity (which was never the story I wanted to tell), or that I was being asked to address my story to a white audience that wasn’t expected to be able to understand and identify with a chicano character the way I was expected to understand and identify with white characters.

I didn’t want to write a story where it ‘meant something’ that my characters were chicano. I wanted to write about brothers.  Did my character’s ethnic background inform how they handled trauma in their life?  Of course, in some ways. But the intense focus on the character’s ethnicity during the discussion of my work was distinctly uncomfortable. (I was asked if they were poor, despite it explicitly stating in the story that they lived in a fairly middle class neighborhood.  I was asked about their immigration status (these are fictional teenage boys in a story that was in no way about immigration!). I was asked if they lived on a reservation, presumably because all brown folk in the US southwest live on a reservation? I wasn’t sure what to make of that one.)

It was a weird, frustrating experience that made me very self-conscious about the story I’d chosen to share.  About a quarter of the students in the class were not white. Only one other student in that class wrote a story where the main character was not white.  I wouldn’t be surprised if other people felt uncomfortable having the class comment on stories about POC characters. I also wouldn’t be surprised if they’d simply been conditioned to think of white as the ‘default’ in literature and assumed that to write a character with their own racial or ethnic background, they’d have to justify it or make it a plot point.

^ A perfect and detailed example of how this functions in practice. Thanks for sharing your experience.

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