13 Matching Annotations
  1. Oct 2020
    1. But Tony McAleer, a former white supremacist leader who now runs Life After Hate, a rehabilitation program for neo-Nazis, called doxxing a “ passive aggressive violence.” He said publicizing the names and workplaces of neo-Nazis may offer some level of solace to people outraged by them, but it makes his job more difficult.

      I think that it's a conflicting kind of interest. If you dox white supremacist and make them afraid to voice their opinions, wouldn't that protect the people they are targeting? I don't think that every white supremacist can be rehabilitated, even though we should try to do so. There are two conflicting needs: the need to keep those who would do violence to vulnerable members of our communities accountable and the need to rehabilitate those who hold harmful viewpoints. I think that is essential to balance the two of them before doxxing anyone.

    2. The ethics — and even the definition — of doxxing is murky. It is the dissemination of often publicly available information. And, some at the protest asked, are you really doxxing a person if he or she is marching on a public street, face revealed and apparently proud? It is not as though they are hiding their identities.

      I think that just because information is available online, that doesnt mean you have the right to use it to target someone. On one hand, sometimes that information can be to protect people. If you find out that someone you know online is planning to shoot up a school, doxxing that person to protect those they may harm at the school should be permissible. On the other hand, doxxing someone you don't know could lead to misidentification and negative consequences for the person who has been misidentified.

    1. The purpose of the use, The amount of the work to be used, The effect of the use on the market for or value of the original work, and The nature of the copyrighted work.

      important information concerning what exactly is covered under copyright law

    2. the amount of the work used in the meme probably supports the meme creators if the image was a still of another work, usually making up a small percentage of the original, but not if the original work was a photograph in which the whole of the work was being used.

      i think that this is an important consideration. if you take the art that someone made and captioned it, couldnt that be considered as infringing upon their copyright? if you draw a meme yourself do you hold the copyright to that image, especially if you use another image as your reference or base image.

      1. This article is about the ballad known as the Twa Sisters and enumerates the differences and similarities between the English, Scottish, and American variants. At the bottom of the article I will include some Scottish variants of the ballad and some American or English variants if anyone was interested in giving them a listen.

      Traits of the song that are present in the Scottish tradition and not in the English tradition:

      sisters living in a bower among the gifts to the elder sister being a ring and knife the eldest sister standing on a stone before throwing the younger in drowned sister’s hair being referred to as yellow a miller’s son or daughter finding the drowned daughter the rhyme of swan with dam (herein the woman is compared to a swan and is said to be found in the miller’s dam) musician taking three locks of the drowned sister’s hair to string their instrument English variants of the ballad are so few that it is perhaps easier to identify them through the lack of elements of the Scottish variant than by any presence of any particular element. Other characteristics of the English tradition:

      the introduction of the ballad, specifically saying that the king had “daughters one, two three” the gift of a beaver hat the rhyme of swan and woman reference to the miller being hanged for the drowning of the younger sister The American tradition never contains the details in the Scottish tradition though many similarities between it and the English tradition can be found. Among (but not limited to) them are:

      introductory stanza beaver hat as a gift failure to specify the hair as yellow also neglects the story of the body of the girl being turned into an instrument

      1. I think that this article is a good look at what kinds of tropes and elements are commonly occurring in different versions of the folk ballad, though I would have liked to see more about how to differentiate the American from the English variants of the ballad.

      2. "In finding traits characteristic of English tradition we are confronted with serious difficulties. The English ballads are few in number, so few indeed that the absence of the Scottish traits is perhaps a more reliable mark than any other."

    1. This article discusses the main kinds of refrains in British ballads.This is directly related to the topic of murder ballads as murder ballads all typically have different kinds of refrains.

      The first kind pertains to an occupation, the second sounds or vocables, the third is a seasonal refrain, and the fourth is a refrain which is directly connected to the ballad that it’s attached to.

      “In the riddle ballad, the elfin or demon suitor attempts to conquer the lady by posing her with questions, failing to answer which she will fall into his' clutches. And as Miss Broadwood has suggested, the herbs named in the refrain are evidently considered of magical virtue in protecting their wearer or invoker against evil.”

    1. Murder in murder ballads cannot be concealed for long and through the course of the ballad, there is always something that reveals the murder. In many folk ballads this is something that happens naturally but in a few this is revealed through supernatural means. This motif is called “murder will out”.

      The specific folk ballads outlined in this paper that have an element of supernatural that is instrumental in revealing the murder are the Twa Sisters (Child 10), Sir Hugh (Child 155), Young Hunting (Child 68), and Young Benjie (Child 86).

      “In the Scottish "Binorie" versions, for instance, the body is recovered from the water and buried without any further allusion to the murder. In North American versions, the younger sister's body is eventually found, but frequently not before she has already been fished out, still alive, by a miller who has seen her floating in his milldam, robbed her of her money or jewelry, and then thrown her back in to drown.”

  2. Sep 2020
    1. “Devoting 80 percent of field agents to stopping international terrorism including Islamic extremism and only 20 percent to stopping domestic terrorism including far right and white supremacist extremism.”

      This is extremely striking bc one would think that the US government would be more concerned with threats from within its borders instead of outside of them.

    1. He feels the song began in Norway before 1600, spread through Scandinavia, and then to Britain and the West. However, he thinks the tale is of Slavic origin. This thesis (see also his article The Geographical Distribution of "The Twa Sisters" in Annuario de la Sociedad Folklorica de Mexico, 1944, 49-54), along with Harbison Parker's "The Twa Sisters"—Going Which Way? in JAF, 1951, 347-360), re-evaluates Knut Leist0l's belief that the ballad was first composed in Britain, split into two versions, both of which came to Scandinavia, one to Norway and one to Denmark. Parker believes the ballad to have originated in Western Scandinavia, and the British versions to stem from Faroe or Norwegian texts. See also Lutz MacKenson's study in FFC, #49 (1923) and Child, I, 124-125. Archer Taylor (JAF, 1929, 238f.) discusses the American, English, and Scottish versions of the ballad. He concludes that the American texts follow the English tradition (see p. 243 ) exclusively. The beaver hat, the failure to call the hair yellow, and the introductory stanza are all English traits. For the Scottish traits (not common to America) see pp. 238—40.

      possible geographic origin of twa sisters ballad from Tristam P Coffin's "The British Traditional Ballad in North America."

    1. Number 10 of the #ChildBallads is "The Twa Sisters", a Northumbrian murder ballad first known to have appeared on a broadside in 1656 as "The Miller and the King's Daughter." At least 21 English variants exist under several names.

      twa sisters twitter thread

    1. Janet has kilted her green kirtle A little aboon her knee, And she has broded her yellow hair A little aboon her bree, And she's awa to Carterhaugh As fast as she can hie. Both the mantle and its color are symbolic in important ways to the story. Green is the faerie color and it is considered unlucky for mortals to wear it in an place where the faeries might see them (see Alice Brand for an example of this ). Likewise, Janet refers to Tam Lin as "elfin grey" when speaking of him, since the root word for both colors was the same. Green has other symbolic meanings though. One is that a woman who dresses in green is supposed to be sexually promiscuous, since green hides grass stains. The other is that a woman dressed in green has left or been left by her lover, a 'grass widow', from the days back before divorce was a possibility for most folks. Janet specifically wears green into Carterhaugh woods despite the knowledge that faeries dwell there, which supports the earlier notion that she originally went there as an act of defiance, but it is noteworthy that Tam Lin specifically instructs her to wear the mantle when she comes to rescue him. "And then I'll be your ain true-love, I'll turn a naked knight, Then cover me wi your green mantle, And hide me out o sight." Apart from the need to provide cover for a wet and naked man in the woods during late fall, mantles (like the greek Aegis) were signs of protection, so Janet casting her mantle over Tam Lin makes sense as the final act of recovering him from the faeries. It is a statement that he is now her own and under her protection, but the choice of color is interesting. Possibly the color is either meant to confuse the faerie magic when she battles them, or as implied by Tam Lin's further command to 'hide me out of sight', simply as a means of camouflage in the green woods.

      symbolism of green kirtle in tam lin