statehate asked: As a native Spanish speaker, I grew up always using the terms of endearment "mama," "mamas," "mamita," "mamacita" for little girls (like for my little primitas), and "papa," "papas," "papito," y "papacito" for little boys (like my brother when he was a baby/toddler). I wonder if that's regional or universal, and I wonder whether non-Hispanics find that usage weird.
I don’t know, I didn’t grow up with that.
I might be on the border between Hispanic and non-native, but calling my brother papito would feel weird to me. Especially since he’s older than I am.
But I think I’ve heard things like that for my little cousins. I personally wouldn’t but it sounds “right” to my ears.
That is purely dialectal, as is the case with most vocabulary. Common words like mesa can be pretty universal among all variants of Spanish, but I’m pretty sure that there are specialised words or constructions that are too context specific, like, for instance, mesa camilla which was a big part of Spanish domestic life back when there were no electrical heaters in homes.
For relatives, in Spain we don’t use mamacita or papito because it sounds foreign. To be honest, I’m always reminded of Latin American pop singers when I hear those. Papá and mamá are the standard colloquial forms of addressing your parents. Padre and madre are now considered too formal and old-fashioned, but there was a time when certain parents required this sort of formality from their children. Papa and mama are the most common ones and cannot be mistaken considerind that mama is a fairly technical way to refer to breast— far away from colloquial or casual speech— and papa is not potato in the whole country, only in Southern areas. It’s similarities with pope are ended by the use of the article. You don’t address your father as el papa but you do address the pope as el Papa. Bear in mind, though, that certain communities do accept the use of the article when referring to your father, but it’s mostly restricted to those communities.
In Northern Spain, your parents may address you as hijo / hija— standard Spanish—, nena / neno, fío, fíu / fía— Asturias—, neño / neña— Western Asturias and Galicia—or by your name. Sometimes they use diminutives— we all call my uncle Juanín— or some nickname. Be careful with diminutives, though, you need to be a very close friend or relative of that person for it not to sound condescending.
What an artist chooses to draw and the fantasies they have, from the sensible, to the Mary-sues and the pornographic, are a reflection on the artist’s personality. You can’t use “it’s just a fantasy” as an excuse for drawing terrible things. There is no absolute divide between reality and fantasy…
People are reacting as if this was such a bad thing. I’m pretty sure we all have these thoughts which fall into the obscure side of our minds; things like death, gore, violence or sex. I’m pretty sure that is a natural thing. If someone wants to explore those topics through their art, I don’t see what’s so wrong about it. Poe did that through his writings and I doubt any of us can claim he was a psycho who deserved to have pen and paper taken away from him. Considering the rough life he had, I see it as a way to cope with and understand his troubled mind. Since we are far from being perfect, and those instincts are still there, let people explore and understand them before it becomes some trauma or something much more serious than sheer curiosity. We’ve all wanted to be what we perceived as perfect, we want to be idolised and hated, we want to be in control and have the power to make things match our perfect schemes; who are those who share our wishes to tell us we’re wrong for feeling this way? It’s much deeper than thoughts or personality; it’s a reminder of our nature. If you dislike it so much, I can foretell a terrible experience being human for you.
Working on a doll, and I need some awesome high-fashion gown ideas. If you have favorites, share with me?
I know this is gonna be pretty obvious so feel free to ignore me if that’s the case. I googled high-fashion gowns and got the following:
Sometimes you can get inspiration from random objects. I find perfume bottles to be perfect for this, since in order to sell their products, they must offer an interesting design for the bottle as well. Others, you can take a dress you like, like this one worn by Doña Letizia at Denmark in 2004, I think? It’s by Spanish designer Lorenzo Caprile. I also have a soft spot for Balenciaga, but that firm also works with more ordinary clothing, so it may be difficult to pinpoint a particular style. There’s a blog— it’s in Spanish but it has lots of photographs— which may be interesting to look at. Bear in mind that these are Balenciaga’s designs from the 50s so they may not be exactly what you’re looking for, but it’s still a good starting point. If you want to get crazy, check Agatha Ruiz de la Prada. If you can turn those designs into high-fashion I’ll give you a cookie. Scratch that, I’ll give you a whole box of them.
Is this for that contest at Glam where you have to design an outfit based on a site or a browser?
Glam’s gift for December. Happy birthday, December babies! ¡Feliz diciembre!
Baseless, with pose reference from Jimbosbabystock at DA
We’re all fans of something here, right? And a lot of us are nerds.
So I want to know: What’s the point of learning a fictional language (Klingon, Sindarin, Quenya, etc)? Also, what does it mean to be a nerd?
If you do speak/write a fictional language, when did you start? Do you use it to speak…
I don’t speak any fictional languages as those listed there, but I tend to incorporate them to the “artificial languages list” where I’d list any non-natural language, be it from a work of fiction or from an academic or professional field. Keeping up with this point, I do know of certain technical jargons, mainly related to functional and generative linguistics. I also learnt some basic predicate logic and was introduced to Frege’s mathematical representation of language, both of which use their own formulae and could be considered languages or means of representation.
I consider languages to be means of communication, with enough systematicity as to allow tremendously large communities of speakers to communicate with each other(1) but also with some degree of variation(2) that applies to smaller parts of those big communities, that is still systematic in itself(3). I was introduced to Saussure’s and Coseriu’s ideas on language on my first linguistics course at college and I must admit that Saussure’s concepts of langue(1), parole(2) and Coseriu’s norm(3) give a pretty accurate impression of what a language may be like. English differs in any given country where it’s spoken—i.e. Northern British English / Southern British English—, from one country to another— i.e. American English / British English—; but it’s still systematic enough to allow communication among Canadians, Americans, British, Irish, Scottish, Welsh, Australians, South Africans, with people from their same countries or anyone else who happens to speak it. Same with any other natural language. Artificial languages may be more regular since their communities are smaller and their use is more limited— you don’t order a pizza in Klingon. In academic or professional fields, variation can get in the way of its effectiveness. But I’m pretty sure Esperanto has had to adopt some degree of variation and irregularity.
Long story short, languages are stable systems of communication that allow people to express themselves as well as requesting information; also shaping and being shaped by other cultural aspects. Believe it or not, the study of artificial languages can be fairly enriching to linguistic and cultural studies. Artificial languages, particularly those that come from popular works of fiction, demonstrate a need and a passion for a given work of art and serve to represent its impact on society. Not only that but creating a language is not an easy task and devoting time to doing it shows that certain people have actually thought about language. The study of their structure may reveal people’s thoughts on something we usually take for granted, and may also be of interest in terms of studying what’s the layman’s true knowledge of language.
Saussure, F. (1916) Course in General Linguistics. Translation by Wade Baskin.
i am so jealous of europeans
three hours of travel and they’re in a whole different country, a whole different culture like seriously
three hours of travel and i’m in another town that’s just like mine
except three hours away
I think you’re all taking this way too literally. It takes me five hours by car— assuming that there are not traffic issues or anything that may delay me— to get from Asturias— North-Western Spain— to Madrid— Central Spain. In just 30 minutes I can only reach a city 30 kms away from where I live and that’s just by train. It would take me an hour by bus. I get what you mean, but you’re making it seem as if I could set out from Spain, have breakfast in France, have a beer in Germany, have dinner in Italy and get back home by eleven. I guess, what I’m trying to say is that, as a European, I feel like I’m living in a tiny Polly Pocket doll set whenever I see these posts.
When studying morphology and the creation of new words, the most common explanation is that Germanic words favour composition— the merging of several lexemes or words to create a new one, i.e. Eng. street-light—, and that Romance languages prefer derivation— the merging of a lexeme and one or several afixes, i,e, Spa. farola*. However, if I were to explain Spanish swearing and insults to any foreigners, I would find myself having to explain many cases of composition. Could this be because of the nature of these words? Their main aim is to let off steam and liberate our frustration. Could our minds feel that longer words are a better way to express our anger than a shorter form?
*While at some point in language history, farola could be considered a case of derivation where the morpheme could be distinguishable— it could be visually represented as farol + -a—, the general tendency nowadays is to analyse farola as a whole lexeme with no ending attached to it. The reason for this is because farola is no longer the feminine form of farol; but has acquired a specialised meaning, which is street-light or lamppost, whereas farol keeps referring to a lantern. Both are types of lighting devices but differ in more specific details.
This is also the case with many other Spanish nouns, such as anillo— ring, as in wedding ring— anilla—ring, as in the ones that are used to hold curtains or the gymnastics apparatus. Barco— a big boat or ship, a vessel— and barca— a small boat or a rowboat. Manto— a small piece of cloth used to cover oneself, a cloak or mantle; also used to cover religious figures, i.e. el manto de la virgen— manta— a larger piece of cloth used to protect oneself from the cold, a blanket.
The art of insulting - From Spain, with love
[NOTE: For obvious reasons, the following post contains swearing and obscene language. The most offensive part has been hidden under Read more]
Abrazafarolas - streetlight-hugger
Abrazafarolas comes from two Spanish words abrazar— to hug— and farola— streetlight, from farol,lantern.Read more
Just one of the beautiful tombs at La Carriona’s cemetery in Avilés. For more pictures, check Viajero_Asturiano’s Cementerio de la Carriona’s folder and for more Spanish cemeteries, check Cementerios de España on flickr.