EnclavedMicrostate在2022-11-28~2022-12-04的言论

2022-12-04 作者: EnclavedMicrostate 原文 #Reddit 的其它文章

951: Is it just me or does irys 2.0 look like irys 1.0’s younger sister, submitted on 2022-11-28 02:21:41+08:00.

—– 951.1 —–2022-11-28 21:42:52+08:00:

Maybe, but not in this comparison. 2.0RyS on the right there is giving off immense Ara-Ara vibes.

952: Cartoon by David Lowe (8 juli 1936) about run-up to WW II. Can someone analyse this thoroughly and/or just explain the meaning behind it?, submitted on 2022-11-28 20:46:45+08:00.

—– 952.1 —–2022-11-28 22:12:13+08:00:

Hi there - unfortunately we have had to remove your question, because /r/AskHistorians isn’t here to do your homework for you. However, our rules DO permit people to ask for help with their homework, so long as they are seeking clarification or resources, rather than the answer itself.

If you have indeed asked a homework question, you should consider resubmitting a question more focused on finding resources and seeking clarification on confusing issues: tell us what you’ve researched so far, what resources you’ve consulted, and what you’ve learned, and we are more likely to approve your question. Please see this Rules Roundtable thread for more information on what makes for the kind of homework question we’d approve. Additionally, if you’re not sure where to start in terms of finding and understanding sources in general, we have a six-part series, “Finding and Understanding Sources”, which has a wealth of information that may be useful for finding and understanding information for your essay. Finally, other subreddits are likely to be more suitable for help with homework - try looking for help at /r/HomeworkHelp.

Alternatively, if you are not a student and are not doing homework, we have removed your question because it resembled a homework question. It may resemble a common essay question from a prominent history syllabus or may be worded in a broad, open-ended way that feels like the kind of essay question that a professor would set. Professors often word essay questions in order to provide the student with a platform to show how much they understand a topic, and these questions are typically broader and more interested in interpretations and delineating between historical theories than the average /r/AskHistorians question. If your non-homework question was incorrectly removed for this reason, we will be happy to approve your question if you wait for 7 days and then ask a less open-ended question on the same topic.

953: meirl, submitted on 2022-11-29 20:54:25+08:00.

—– 953.1 —–2022-11-30 04:36:58+08:00:

If so, Xenophon and Aristophanes were in on the joke as well, which is unlikely at best. The Socrates of Plato is difficult to tease apart from Socrates the historical person, but that’s different from saying Socrates didn’t exist at all.

954: [Opera] ‘So adventurous a tale, Which may rank with most romances’ – The Mikado, comic opera’s biggest and most controversial hit, submitted on 2022-11-30 18:22:07+08:00.

—– 954.1 —–2022-11-30 18:29:15+08:00:

For a bit of extra trivia I couldn’t fit into the writeup itself, the one semi-genuine Japanese song in The Mikado is the one titled ‘Mi-ya sa-ma’, a somewhat re-keyed version of a military tune titled ‘Ton-yare Bushi’, also known as ‘Miyasan’, written during the Boshin War in 1868. The titular Miyasan (imperial prince) almost certainly referred to Komatsu Akihito, the ceremonial commander-in-chief of the imperial armies, who, as the story goes may well have been in attendance during The Mikado’s opening run.

955: [Opera] ‘So adventurous a tale, Which may rank with most romances’ – Gilbert and Sullivan’s The Mikado, comic opera’s biggest and most controversial hit, submitted on 2022-11-30 18:30:14+08:00.

—– 955.1 —–2022-11-30 18:32:56+08:00:

For a bit of extra trivia I couldn’t fit into the writeup itself, the one semi-genuine Japanese song in The Mikado is the one titled ‘Mi-ya sa-ma’ used for the entry of the Mikado in Act II, a somewhat re-keyed version of a military tune titled ‘Ton-yare Bushi’, bettern known as ‘Miyasan’, written during the Boshin War in 1868. The titular Miyasan (imperial prince) almost certainly referred to Komatsu Akihito, the ceremonial commander-in-chief of the imperial armies, who as the story goes may well have been in attendance during The Mikado’s opening run.

—– 955.2 —–2022-11-30 23:16:48+08:00:

I did almost engage a bit with these two shows, but ran out of space. The short answer is that it’s complicated. On the one hand, Turandot and Madame Butterfly derive a certain degree of greater artistic shielding by being grand opera rather than more down-to-earth comic opera, but on the other hand, The Mikado’s comic-satirical nature gives it a certain degree of leeway: problematic as the text is, it is arguably devoid of any outright malice.

—– 955.3 —–2022-11-30 23:18:23+08:00:

You’re right, that is an omission. I may go back and edit something in on that. At the same time it’s an odd sort of nothingburger in the end: when US producers remarked on the offensiveness, the D’Oyly Carte company duly noted the issue and edited the libretto going forward.

—– 955.4 —–2022-11-30 23:27:21+08:00:

Takarazuka Revue

Funny you should mention the Takarazuka Revue – I’ve seen it argued that the Revue is the last major vestige of the Asakusa Opera scene, the inspiration behind the 1992 production that I mention in the writeup!

—– 955.5 —–2022-12-01 01:56:13+08:00:

Oh drat! Thanks for the correction, I’ll make it immediately.

—– 955.6 —–2022-12-01 02:59:19+08:00:

You must have been using a very old version then; all libretti and scores since about 1950 have replaced the words.

—– 955.7 —–2022-12-01 06:25:11+08:00:

Unfortunately, it appears to only exist in allusion and is never described at great length, at least in terms of the versions pitched to Sullivan. However, Gilbert did ultimately manage to produce a version of his lozenge plot in conjunction with composer Alfred Cellier, producing The Mountebanks, a show in which a magic potion enables people to transform into the people they pretend to be.

—– 955.8 —–2022-12-01 07:08:46+08:00:

He didn’t!

—– 955.9 —–2022-12-01 17:14:44+08:00:

Gilbert had definitely got into some hot water with the Lord Chamberlain at times (this being when the Lord Chamberlain was still the theatre censor). According to Andrew Goodman’s brief article on the ban on The Mikado during Prince Fushimi’s tour, his major brush with the censors had been over an 1873 burlesque which mocked then-Prime Minister William Gladstone, Chancellor Robert Lowe, and Commissioner of Works Acton Ayrton. Performances were suspended until the caricatures were less obvious, which was apparently resolved by some costume modifications as well as making ‘Gladstone’ dress up as Guy Fawkes. So Gilbert was certainly aware of the arbitrary hand of the Lord Chancellor if he made his mockeries too overt.

—– 955.10 —–2022-12-01 17:21:53+08:00:

I have often entertained the idea of a version where all the characters are, indeed, cringey modern-day weebs.

—– 955.11 —–2022-12-02 00:51:05+08:00:

For that line of analysis I’m pulling straight from Josephine Lee’s book on The Mikado, which I don’t agree with 100% on but which was nevertheless an extremely valuable and enlightening read.

956: The front system is a complete mess., submitted on 2022-11-30 18:30:23+08:00.

—– 956.1 —–2022-12-01 18:23:15+08:00:

Troops will remain garrisoned as long as their general isn’t mobilised, but if you have mobilised that general then it’s tough luck, apparently.

957: What names should I use for the Chinese Emperors?, submitted on 2022-12-02 04:31:01+08:00.

—– 957.1 —–2022-12-02 06:01:17+08:00:

I discuss this somewhat in this answer, but to put it bluntly, naming conventions changed over time. Emperors from the Han to the Sui tend to be referred to by posthumous name, Tang through Song are usually referred to by temple name, Yuan emperors are typically referred to by their Mongolian personal name, and Ming and Qing emperors are typically referred to via era names (via the [X Emperor] format rather than [Emperor X]), though you can find some historians who prefer temple names instead. There’s always the odd exception, such as the Ming emperor Yingzong, who is known via temple name as he had two separate reigns, but there’s a mini-exception to that too, as the Qing Tongzhi Emperor is known as such despite having briefly been the Qixiang Emperor at the start of his reign. But as a general set of conventions over time, the above holds true.

—– 957.2 —–2022-12-02 06:30:32+08:00:

The long and short of it is that they were typically simply ‘the emperor’ or a synonym thereof. As for posthumous names, the typical convention is to take the last character (so for instance Fantian Hedao Zhesu Dunjian Guangwen Zhangwu Anren Zhixiao Xian Huangdi 範天合道哲肅敦簡光文章武安仁止孝顯皇帝 is also simply Emperor Xian).

958: The devolution of Tibet - Yüan, Ming, Qing and Tibet Nowadays, submitted on 2022-12-02 22:30:48+08:00.

—– 958.1 —–2022-12-08 22:01:31+08:00:

It’s interesting reflecting on that answer 3 years on, as the person who asked the question!

As you note your answer is mostly the Tibetan perspective, and to give mine from the Qing standpoint, at least in brief, I do think we ought to see Tibet as having been conceived as being within the Qing Empire from about 1720 onwards, as opposed to either a tributary (in the sense of an independent state with limited and voluntary recognition of at least ceremonial Qing suzerainty) or a protectorate (in the sense of a largely unidirectional policy of military defence). The presence of an imperial resident in Lhasa from 1720 onward implied a level of Qing presence well above and beyond any other ‘tributary’ state, as the Qing as a rule did not send residents to their tributaries: the one exception I know of is the assignment of Yuan Shikai to Korea in 1885. However this was not necessarily direct rule, in that the Ganden Podrang functioned as a devolved government under moderate Qing supervision, and one capable of a certain amount of independent liaising with other elements within the empire.

The 1792 turning point is less significant in terms of ‘was Tibet part of the empire?’ and more in terms of the autonomy of the Tibetan administration and priesthood. I’m not as familiar with the specific legal privileges granted to the ambans, but even just looking at the Golden Urn, that was a pretty powerful tool for consolidating Qing authority. It meant that the Tibetan clergy could no longer sustain their old patronage networks in Inner Asia, and effectively meant that the only lasting patron-priest/donor-preceptor (take your pick) relationship they could sustain would be that with the Qing court. So it would not have been an act that situated Tibet in the Qing Empire (where the Qing already believed it was), but rather one that put an end to the Tibetan clergy’s ability to independently negotiate with other loci of power within the empire.

Anyway, just some musings based mainly off Max Oidtmann’s The Golden Urn.

—– 958.2 —–2022-12-09 03:44:47+08:00:

The Gurkha invasion in 1792 is really interesting as a point of discussion around Tibet’s position within the Qing Empire. The thing is that the Qing already had a garrison in Tibet which had successfully headed off an earlier Gurkha attack in 1788. Except as you may know, it didn’t – the Qing officers on the ground had done nothing and the Gurkhas had been bought off. So when the second attack came in 1791-2 in response to a failure by the Tibetans to pay up, it made significant gains, including looting the monastery at Trashi Lhünpo which had recently received a major donation from the Qianlong Emperor. While the Qing sent troops to beat back the later invasion and succeeded over the course of 1792, it’s worth considering that from the Qing standpoint, they had already been responsible for Tibet’s military defence well beforehand, but that in 1788, they failed to act, rather than it not actually being within their purview.

Another factor to consider is that the 1788 attack had been preceded by an inheritance dispute after the death of the Sixth Panchen Lama, leading to the Tenth Zhamarpa Lama fleeing to Nepal and becoming an advisor to the Nepalese court. The Qing, at least officially, blamed the absconded lama for the Gurkha invasion in 1791, citing his alleged lust for the treasures at Trashi Lhünpo and claiming that he had given away Qing military secrets. Because of that, the increased military presence in Tibet went hand-in-hand with the matter of the Golden Urn, because from the imperial standpoint, the Gurkha invasions had been made possible because of the venality of the Tibetan clergy, at the root of which was the ability to arbitrarily decide on reincarnation candidates, and keep new lamas coming from aristocratic lineages.

Oidtmann’s argument would be that it was in fact the Golden Urn that was the bigger implication of 1792, not least because it was the first response, rather than any military enlargement. In introducing the Urn, the Qing rearranged Tibet’s position within the empire, from being part of a web of negotiated relationships between different interest groups towards a more unidirectional relationship with the imperial court.

959: Is it accurate to claim that British colonialism killed 100 million Indians between 1880 and 1920?, submitted on 2022-12-04 13:48:35+08:00.

—– 959.1 —–2022-12-05 08:34:05+08:00:

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960: Already so energetic… [Hololive], submitted on 2022-12-04 16:40:09+08:00.

—– 960.1 —–2022-12-08 01:11:11+08:00:

‘Friends’.

961: [Hobby Scuffles] Week of December 5, 2022, submitted on 2022-12-04 23:00:21+08:00.

—– 961.1 —–2022-12-05 02:00:10+08:00:

VTuber agency VShojo has just announced a new member, and people are annoyed. So, what exactly is going on?

As a general introduction, on paper VShojo is one of the sort of ‘big three’ VTuber agencies alongside Hololive and Nijisanji, albeit occupying a different market niche: Whereas Hololive and Nijisanji are Japanese agencies with an English presence and primarily active on Youtube, VShojo operates primarily on Twitch and was, until recently, solely English-language. Its modus operandi is also distinct: whereas the other two agencies might be described as ‘vertically integrated’ entities where VTubers’ character IPs are owned by the agency, and members essentially audition for a role initially cast by the agency, VShojo functions more like a voluntary association of existing creators. All of its founding members (Nyanners, Zentreya, Ironmouse, Silvervale, and Projekt Melody) were existing VTubers, although it did then debut two members new to the VTubing sphere: Froot and Hime Hajime. Since then, it’s also added Veibae and Kson, both also established VTubers, and Amemiya Nazuna, who was active before but under a different identity. Basically, VShojo functions less as an agency capable of pulling smaller content creators up through the ranks, and more as a club for existing heavyweights – Froot and Hime excepted.

VShojo’s messaging is also a little abrasive, to put it mildly. Its rejoinder of ‘talent freedom’ as its main selling point can be read as a jab aimed particularly at Hololive, which in the Anglophone fandom has a bit of a reputation as being a highly controlling agency with a lot of constraints on its members’ activities. In effect, it acts like it breaks the rules set by other agencies and has none of its own, and acts basically like the underdog, representing the side of VTubing rooted in the Anglophone indie space as opposed to the much more structured, agency-heavy Japanese scene.

But for some, the image of VShojo as the vanguard of the EN indie scene and the reality of its relatively exclusive membership have reached an increasing point of irreconcilability, relating primarily to a huge amount of controversy relating to its auditions. In August 2021, VShojo formally announced that it was opening up auditions. For a while, basically the only new information was an official update on 21 November (of 2021, mind you), and another update on 21 February 2022.

In some spaces, the deafening silence of VShojo on the subject of its auditions became a running joke, but this was one with a serious streak: the 21 November update had come in the wake of a major scandal involving a schism between dramatuber edgelord Nux Taku and agency management over phishing scams by people impersonating VShojo’s audition team. The Nux drama had seen a huge amount of bad blood come up because he had apparently revealed the existence of these scams despite the agency supposedly advising him otherwise in order not to compromise their investigation, leading to a flurry of confused messaging from VShojo members, some of whom latterly backtracked after it became apparent that Nux was – at least this time – not entirely incorrect, at least not in all regards.

Minor flareups occurred earlier this year when Kson and Nazuna joined VShojo in July. That Kson might have been one of the 2021 auditionees can’t be ruled out, but Nazuna almost certainly wasn’t. Whereas Kson is bilingual, Nazuna is basically Japanese-only; moreover, Nazuna’s past is significant here, as she was unlikely to be in a position to want to audition at the time that the process was taking place, but she would have been in a position to get in after February 2022; plus she was known to be a friend of Kson’s. (More specifically: >!at the time, Nazuna was still Hololive’s Rushia, the second-highest-earning VTuber in the world, and leaving for VShojo would have meant starting from near-scratch with no guarantee of greater success; however she was later terminated from the agency in February.!<) So here everyone was, 11 months since the auditions, and yet Kson had come in – without any connection with those auditions – and brought a friend along with no prior presence as the Nazuna character, which was created within a less than 5-month window. Unsurprisingly, this led to some questions about whether VShojo was taking the piss in relation to the auditions process.

Well, we now have our announcement: the new VShojo member – yes, ‘new’ in the singular – is (drum roll please)…….. Haruka Karibu!

People are… ambivalent. Nobody really begrudges Karibu the chance to be formally part of VShojo, but there’s a lot of grumbling that instead of a genuinely small indie creator, it’s someone who already has 180k Twitch followers (which is still smaller than most of VShojo’s existing members, it must be said), but more critically someone who has had a relatively long history of collaborating with VShojo members, rather than being a smaller indie talent. Why, if VShojo was so keen on advertising itself as the agency for EN indies, was it not bringing on a wider range of content creators outside established talents? Why was the one (1) successful applicant someone who was already friends with several people in the agency?

And this aspect is where some of the more ‘integrated’ Japanese agencies come off looking really quite good in comparison. Take Hololive’s recent debuts: nigh on everyone has some level of prior content creation experience, but there’s a mix of people from varying ranges of popularity. HoloEN Gen 2 had one member with no VTuber experience and three who only did a bit on the side; HoloJP Gen 6 was a similar situation, where all but one were relatively obscure; until recently, only one of HoloID Gen 3’s members had been traced to a past identity, in this case as a small-time indie VTuber. In general, new debutants are experienced but not established as VTubers. It’s something that can slice either way as to whether it’s a good or a bad thing, but it’s not surprising that Hololive’s tendency to also admit ‘outsider’ candidates was raised by some users as a point in favour.

—– 961.2 —–2022-12-05 16:25:10+08:00:

and it’s not for the reason you think

I’m curious…

—– 961.3 —–2022-12-05 16:31:08+08:00:

So, to dig up the old can of worms, I definitely was not 100% on board with how Lindsay Ellis handled the Raya situation, but I never had any issues with her videos. As for Sarah Z, I’m not in enough of the fandoms she covers to say with any certainty if she’s right or wrong on certain takes, but I will say that I didn’t stand for her denunciation of Top Gun: Maverick as US Navy propaganda. I mean, that is correct, but it is also a genuinely good film where planes go whoosh and pew pew.

—– 961.4 —–2022-12-05 16:33:28+08:00:

Hbomberguy’s recent video on Tommy Tallarico I think came close to the repetition issue, in that it is essentially five chapters that consist solely of ‘Tommy Tallarico lied about X’. But the lies keep getting worse. It’s genuinely well structured and laid out, and I appreciate that.

—– 961.5 —–2022-12-05 16:42:47+08:00:

Finished my 1860s Royal Marines perspective 1 perspective 2, and also did a couple of supporting figures – an ADC and a cook perspective 1 perspective 2.

—– 961.6 —–2022-12-05 17:08:31+08:00:

1964’s Zulu is famous as the film that essentially launched Michael Caine’s career (ironic given it was supposed to be Stanley Baker’s star vehicle, but I digress). It is also famously the film in which Caine exclaims, ‘Zulus! Thousands of ‘em!’ Or indeed, ‘faaahzands of ‘em!’

Except… it isn’t. Some variation on the line is said twice: the first is at roughly the 59-minute mark by Nigel Green as Colour Sergeant Bourne, who declares ‘The sentries report Zulus to the southwest, thousands of them.’ The second is around the 1hr45m mark when James Booth’s Private Hook tries to flee the hospital and sees the Zulus about to break through the door: ‘Quick! Thousands of ‘em!’ Michael Caine’s character, who speaks with an upper-class English accent rather than the actor’s typical Cockney, says nothing of the sort.

However, Zulu is also famous as the film where Michael Caine exclaims ‘Stop throwing those bloody spears at me!’

Except… it isn’t. The line is never said by anyone in that film, in which throwing spears never even share the screen with Caine (though a good few redcoats do get nailed by a thrown assegai at various points). Those who note the line’s absence from Zulu often point out that it is actually from a different Michael Caine role, as Peachey Carnehan in the 1975 film The Man Who Would Be King, the other film in which he appears in a pith helmet and a red uniform.

Except… it isn’t. The line does not appear in that film either. ‘Stop throwing those bloody spears at me!’ is now a line permanently associated with the film Zulu and more broadly with the early career of Michael Caine, despite this never actually having been said on the big screen.

—– 961.7 —–2022-12-05 22:56:13+08:00:

It’s a rare case of a collaboration nobody would have wanted, but which everyone is happy to have.

(Clarification if needed: ideally, there wouldn’t be harassment to crack down on at all and this serves to remind us that it does exist and that it is bad, but seeing as there is harassment, it’s really good to see the big players team up and publicly state that they will do something about it.)

—– 961.8 —–2022-12-06 00:02:51+08:00:

Well that would be the obvious reason, hence the curiosity

—– 961.9 —–2022-12-06 00:03:34+08:00:

Interesting. I see what you mean.

—– 961.10 —–2022-12-06 02:58:03+08:00:

Three, if I’m not mistaken.

—– 961.11 —–2022-12-06 03:38:37+08:00:

Wait, what did Chris Avellone do?

—– 961.12 —–2022-12-06 03:43:46+08:00:

The 8-Bit Guy

Wait what? I did not know of this. What, er… what specifically did he say?

—– 961.13 —–2022-12-06 03:44:22+08:00:

Yikes.

—– 961.14 —–2022-12-07 11:55:14+08:00:

What is Sinfest, who is Tatsuya, and on a scale from ‘not really’ to ‘abandon all hope’, how much will I regret having asked?

—– 961.15 —–2022-12-07 12:14:41+08:00:

Oh good lord.

—– 961.16 —–2022-12-07 12:20:33+08:00:

This is just the pure essence of hobby drama here, where the scale of the drama is inversely proportional to the actual stakes. It’s yarn, and yet somehow businesses are gamifying it. Just… wow.

—– 961.17 —–2022-12-07 12:23:07+08:00:

nasty plebes

All else aside, upvote for good Latin.

—– 961.18 —–2022-12-07 12:40:54+08:00:

I still like MB on the whole, albeit as someone who basically hasn’t watched anime in literal years. His style’s still not everyone’s cup of tea naturally, so this isn’t an insistence that you revisit him.

—– 961.19 —–2022-12-07 12:44:05+08:00:

FWIW there’s also arguably a qualitative difference between consistently-running series that are regular staples expected to go on indefinitely, versus seasonal anime which live and die based on whether new seasons and films are commissioned. It’s one thing for One Piece to have a dip in quality for a bit, it’s quite another for a new anime with a shoddy first season to get renewed.

—– 961.20 —–2022-12-07 12:45:10+08:00:

What you and /u/Chivi-chivik seem to have stumbled on is what Dan Olson calls the Thermian Argument – attempting to offer Watsonian explanations for Doylist critiques.

—– 961.21 —–2022-12-07 12:45:52+08:00:

Ironically I like Lady Emily’s (the co-writer in question’s) content more than Sarah’s FWIW.

—– 961.22 —–2022-12-08 21:26:30+08:00:

I dunno, it’s played fine for me.

I mean, ‘fine’ in the sense that it still randomly crashes a lot and there is one specific bug where the game freezes if I zoom in or out while colony progress is visible, but other than that…

Well there’s also the bugs with the political interest groups, where they fixed the overflow issue from the base game where you could have Interest Groups be so powerful they overflow to having negative Clout, but where the new system for giving you Loyalists at high Legitimacy actually takes away Loyalists instead…

But with that being said, there is a reason I still load the game back up after each crash.

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