Roche Crimes and Misdemeano
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Resemblance and Camouflage in Graeco-Roman Antiquity 169
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Research Information System University of Turin Sign Systems Studies 38(1/4), 2010 1 2 3 4 5 6 Resemblance and camouflage 7 in Graeco-Roman antiquity 8 Massimo Leone 9 Department of Philosophy, University of Turin 10 Via S. Ottavio 20, 10124, Torino, Italy 11 e-mail: [email protected] 12 13 Abstract. In the twenty-eighth book of the Naturalis Historia Pliny the Elder 14 claims that, if a chameleon’s left leg is roasted together with a herb bearing the 15 same name, and everything is mixed with ointment, cut in lozenges, and stored in 16 a wooden little box, this will bestow on those who own it a perfect camouflage. 17 The ring of Gyges (Plato, etc.), that of Midas (Pliny), the heliotropium (Pliny), the 18 dracontitis (Philostratus): ancient cultures abound with references to objects, 19 recipes, and techniques able to bestow different kinds of invisibility, meant as a 20 perfect resemblance with the environment. At the same time, these same cultures 21 also teem with references to how to avert the perfect camouflage: for instance, by 22 being endowed with a pupula duplex, a double pupil (Ovid). 23 The paper explores such vast corpus of texts from the point of view of a 24 semiotics of cultures, in order to track the roots of a conception of camouflage 25 that, from these ancient cultures on, develops through intricate paths into the 26 contemporary imaginaires (and practices) of invisibility. -
Twyla Tharp Th Anniversary Tour
Friday, October 16, 2015, 8pm Saturday, October 17, 2015, 8pm Sunday, October 18, 2015, 3pm Zellerbach Hall Twyla Tharp D?th Anniversary Tour r o d a n a f A n e v u R Daniel Baker, Ramona Kelley, Nicholas Coppula, and Eva Trapp in Preludes and Fugues Choreography by Twyla Tharp Costumes and Scenics by Santo Loquasto Lighting by James F. Ingalls The Company John Selya Rika Okamoto Matthew Dibble Ron Todorowski Daniel Baker Amy Ruggiero Ramona Kelley Nicholas Coppula Eva Trapp Savannah Lowery Reed Tankersley Kaitlyn Gilliland Eric Otto These performances are made possible, in part, by an Anonymous Patron Sponsor and by Patron Sponsors Lynn Feintech and Anthony Bernhardt, Rockridge Market Hall, and Gail and Daniel Rubinfeld. Cal Performances’ – season is sponsored by Wells Fargo. PROGRAM Twyla Tharp D?th Anniversary Tour “Simply put, Preludes and Fugues is the world as it ought to be, Yowzie as it is. The Fanfares celebrate both.”—Twyla Tharp, 2015 PROGRAM First Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers The Practical Trumpet Society Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company Antiphonal Fanfare for the Great Hall by John Zorn. Used by arrangement with Hips Road. PAUSE Preludes and Fugues Dedicated to Richard Burke (Bay Area première) Choreography Twyla Tharp Music Johann Sebastian Bach Musical Performers David Korevaar and Angela Hewitt Costumes Santo Loquasto Lighting James F. Ingalls Dancers The Company The Well-Tempered Clavier : Volume 1 recorded by MSR Records; Volume 2 recorded by Hyperi on Records Ltd. INTERMISSION PLAYBILL PROGRAM Second Fanfare Choreography Twyla Tharp Music John Zorn Musical Performers American Brass Quintet Costumes Santo Loquasto Lighting James F. -
Mythological Magic Items
MY T H O LO G I C A L MAGIC ITEMS Sample file MYTHOLOGICAL MAGIC ITEMS Introduction: The magical creations herein hail from classical antiquity. Whether they be in the hands of friend or foe, they are certain to infuse your game with a certain mythological flavor straight from the epic poems of old! In addition to 30 magic items, there is also a bonus creature from the gates of hell. Author: Eugene Marshall Layout: Amy Bliss Marshall Cover: Figure Inks by Bien Flores, Figure Colors by Basith Ibrahim, Background Image by Yusef Dundar Interior Art: art made available under the Community Content Agreement for the DMs Guild by Wizards of the Coast and from Edouard Dognin, Mateus Campos, Mike Gorrell, & Milada Vigerova Sample file DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, Ravenloft, Eberron, the dragon ampersand, Ravnica and all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. This work contains material that is copyright Wizards of the Coast and/or other authors. Such material is used with permission under the Community Content Agreement for Dungeon Masters Guild. All other original material in this work is copyright 2019 by Eugene Marshall & Arcanist Press and published under the Community Content Agreement for Dungeon Masters Guild. Table of Contents Magic Items Aegis of Zeus 4 Hercules’ Club 7 Aeolus’ Bag of Gales 4 Lantern of Diogenes 7 Ambrosia 4 Lyre of Apollo 7 Archimedes’ Mirror 4 Odysseus’ Bow 7 Artemis’ Longbow of the -
The Roles of Solon in Plato's Dialogues
The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought. -
Mere Anarchy? the Films and Short Stories of Woody Allen
Mere Anarchy? The Films and Short Stories of Woody Allen Lecturer: PD Dr. Stefan L. Brandt, Guest Professor Basic information: Hauptseminar, 2 SWS, ECTS-Studium, ECTS-Credits: 7; application at KOS. Room and time: AR-K 122/123, Tuesdays, 16-18. First session: April 1, 2008. Modules: LCM-MA-M5.3 (Literatur-, Kultur-, und Mediensoziologie) ab 4; Medienkultur-MA-2.2 (Medienanalyse Ton Audiovision) ab 4; Medien und Gesellschaft-MA-2.2 (Medienanalyse Ton Audiovision) ab 4; M-PEB-Diplom-A3 (Medienanalyse AV) (ab 4); AmL-5 (Medien: Theorie, Geschichte, Praxis) ab 4; ENG-GHR-M5.2 (Texte und Medien) ab 4; ENG-GYM- M9a.8 (Textsorten und Medien) ab 4; ENG-BK-M6.1 (Texte und Medien) ab 4. Maximum number of participants: 50 Short description: »It's not that I'm afraid to die,« Woody Allen once told a journalist, »I just don't want to be there when it happens«. This statement, quizzical and absurd as usual, ties in with another aphorism, reportedly the first Allen joke to be published: »I am two with Nature.« Until this very day, Woody Allen is one of the most prolific and renowned artists that America has generated in the 20th century. Receiving his first Emmy Award for a script for the Ed Sullivan Show as early as 1957, Allen has since won four Oscars, the O. Henry Award for the best short story in 1977, as well as numerous other prizes in the U.S. and Europe. What makes Allen’s work, which encompasses comedies, dramas, expressionist films and acting roles as well as literary works, so unique and so influential? This course will deal with the central themes and motifs negotiated in Allen’s oeuvre – black humor, psychology, Jewishness, New York City, human relationships, and the absurdities of (post)modern life. -
Why Nuclear Disarmament Is a Utopia
International Journal of Security Studies Volume 2 Issue 1 Article 6 2020 WHY NUCLEAR DISARMAMENT IS A UTOPIA YOVANI EDGAR CHAVEZ National Air Naval Service (Republic of Panama), [email protected] Follow this and additional works at: https://digitalcommons.northgeorgia.edu/ijoss Part of the Defense and Security Studies Commons Recommended Citation CHAVEZ, YOVANI EDGAR (2020) "WHY NUCLEAR DISARMAMENT IS A UTOPIA," International Journal of Security Studies: Vol. 2 : Iss. 1 , Article 6. Available at: https://digitalcommons.northgeorgia.edu/ijoss/vol2/iss1/6 This Focus Articles is brought to you for free and open access by Nighthawks Open Institutional Repository. It has been accepted for inclusion in International Journal of Security Studies by an authorized editor of Nighthawks Open Institutional Repository. WHY NUCLEAR DISARMAMENT IS A UTOPIA Introduction Centuries ago, ancient literature told the legend of the ring of Gyges, a ring capable of making its owner invisible to act with no consequences and be able to seduce both just and unjust men to commit injustice.1 It was so powerful that it transformed a mere shepherd into a mighty king. In the same way, governments around the world have been seduced to develop their own nuclear-weapon ring of Gyges to obtain maximum power and guarantee survival. Because the international community has tried to prevent wars to no avail, it is imperative for states to develop mechanisms to protect themselves. In that regard, nuclear weapons are the best guarantee of survival. During World War II, the international community saw how the United States used nuclear weapons to defeat Japan. -
Ethics in Crimes and Misdemeanors
Ethics in Crimes and Misdemeanors How do we get at the ethical content of a movie? Let’s begin with a slightly easier question: Why should ethicists go to the movies? What can they expect to learn? One obvious reason is that ethicists like most people might simply enjoy watching movies. What I have in mind, however, is why ethicists qua ethicists should go to the movies. What can they learn as ethicists by watching films? The answer to this question will give us some ideas about how to get at the ethical content of movies. Jerry Goodenough has identified four reasons a philosopher as a philosopher might want to go to the movies.[1] Adapting his classification scheme to ethics in particular, we could say first of all that an ethicist might go to the movies because he was interested in ethical questions about the film medium itself and the nature of the film experience. Is, for example, going to the movie like going into Plato‘s gave? Secondly, an ethicist might want to go to the movies because films often illustrate moral theses or problems. Sophie’s Choice (Alan J. Pakula, 1982) clearly illustrates an ethical dilemma few parents would ever want to face in real life. Countless movies and TV shows illustrate ethical problems doctors face when called upon to save murderers, especially when not saving them would benefit a large number of people. Those who teach ethics, or philosophy, through films, usually concentrate on movies that illustrate ethics. Note that a film can illustrate ethical problems without being explicitly about ethics and without dealing with these problems systematically, not to say argumentatively. -
Dossier De Presse Wonder Wheel
Amazon Studios présente En association avec Gravier Productions Une production Perdido Durée : 1h41 "6$*/²."%µ4 -& %²$&.#3& DISTRIBUTION PRESSE .²53010-&'*-.4 45"313 4U-BVSFOU #POOF4NJUI .POUSÏBM 2$)54 5FM5XJUUFS JOGP@NÏUSPQPMFGJMNTDPN #POOF!TUBSQS TUBSQS!TZNQBUJDPDB 1IPUPT WJEÏPTFUEPTTJFSEFQSFTTFUÏMÏDIBSHFBCMFTTVSXXXNÏUSPQPMFGJMNTDPN SYNOPSIS WONDER WHEEL croise les trajectoires de quatre personnages, dans l’effervescence du parc d’attraction de Coney Island, dans les années 50 : Ginny, ex-actrice lunatique reconvertie serveuse ; Humpty, opérateur de manège marié à Ginny ; Mickey, séduisant maître- nageur aspirant à devenir dramaturge ; et Carolina, fille de Humpty longtemps disparue de la circulation qui se réfugie chez son père pour fuir les gangsters à ses trousses. NOTES DE PRODUCTION Woody Allen a toujours éprouvé une grande tendresse pour Coney Island. des situations, à la fois complexes, profondes, intenses, déroutantes et fortes. Ce n’est d’ailleurs pas un hasard si, dans ANNIE HALL, le petit Alvy Singer Je me suis toujours intéressé aux problèmes des femmes. Au fil des siècles, les grandit à proximité du parc d’attraction. Le cinéaste en garde des souvenirs hommes ont eu tendance à exprimer moins volontiers leurs souffrances : le d’enfance joyeux : « Quand je suis né, l’époque florissante de Coney Island était mot d’ordre masculin consiste à ne pas avouer qu’on souffre. C’est comme dans déjà révolue depuis un bon moment, mais c’était encore un endroit magique le base-ball où, quand un “batteur” est touché par un “lanceur”, il est censé ne pour moi, confie-t-il. Ce lieu m’a toujours impressionné. Il y avait là une faune pas montrer qu’il a mal. -
ROBERT GREENHUT Producer
ROBERT GREENHUT Producer TRUST - Millennium - David Schwimmer, director PICASSO & BRAQUE GO TO THE MOVIES - Independent - Arne Glimcher, director BROOKLYN’S FINEST - Warner Bros. - Antoine Fuqua, director AUGUST RUSH - Warner Bros. - Kirsten Sheridan, director FIND ME GUILTY - Yari Film Group - Sidney Lumet, director STATESIDE - First Look Films - Reverge Anselmo, director THE BLACK KNIGHT - 20th Century Fox - Gil Junger, director WHITE RIVER KID - Independent - Arne Glimcher, director WITH FRIENDS LIKE THESE - Independent - Phillip Frank Messina, director THE PREACHER’S WIFE - Buena Vista - Penny Marshall, director EVERYONE SAYS I LOVE YOU - Miramax - Woody Allen, director MIGHTY APHRODITE - Miramax - Woody Allen, director BULLETS OVER BROADWAY - Miramax - Woody Allen, director RENAISSANCE MAN - Buena Vista - Penny Marshall, director WOLF (Executive) - Columbia - Mike Nichols, director MANHATTAN MURDER MYSTERY - TriStar - Woody Allen, director HUSBANDS AND WIVES - TriStar - Woody Allen, director SHADOWS AND FOG - Orion - Woody Allen, director A LEAGUE OF THEIR OWN - Columbia - Penny Marshall, director REGARDING HENRY (Executive) - Paramount - Mike Nichols, director ALICE - Orion - Woody Allen, director QUICK CHANGE - Warner Bros. - Howard Franklin, Bill Murray, directors POSTCARDS FROM THE EDGE (Executive) - Columbia - Mike Nichols, director CRIMES AND MISDEMEANORS - Orion - Woody Allen, director NEW YORK STORIES - Touchstone - Woody Allen, director WORKING GIRL - 20th Century Fox - Mike Nichols, director BIG - 20th Century Fox - Penny -
Celebrity and Authorial Integrity in the Films of Woody Men %Y
CELEBRITY AND AUTHORIAL INTEGRITY IN THE FILMS OF WOODY ALLEN BY FAYE MCINTYRE A Thesis Submitted to the Facul@ of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Department of English University of Manitoba Winnipeg, Manitoba (c) January, 200 1 National Library BibIiothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON Ki A ON4 Ottawa ON KI A ON4 Canada Canada rour rïk vom rbw~ Our fi& Notre rtifBrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Lïbrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seU reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantid extracts fÏom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES *f *f * COPYRIGHT PERMISSION PAGE Celebrity and Authorial Integrity in the Films of Woody Men %Y Faye McIntyre A Thesis/Practicum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulNlment of the requirements of the degree of Doctor of Philosophy FAYE MCINTYRE O 2001 Permission has been granted to the Library of The University of Manitoba to Iend or seU copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis/practicum and to lend or sell copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesis/practicum. -
Crimes and Misdemeanors, Match Point, and Cassandra’S Dream) Are Males
RECEPTION OF CLASSICAL MYTHOLOGY IN WOODY ALLEN’S DRAMAS: CRIMES AND MISDEMEANORS, MATCH POINT, AND CASSANDRA’S DREAM by Olga Sergeyevna Savenkova A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts Department of Languages and Literature The University of Utah May 2013 Copyright © Olga Sergeyevna Savenkova 2013 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Olga Sergeyevna Savenkova a has been approved by the following supervisory committee members: Margaret Toscano , Chair 03/05/2013 Date Approved Erin O’Connell , Member 03/05/2013 Date Approved Gerald Root , Member 03/07/2013 Date Approved and by Katharina Gerstenberger , Chair of the Department of Languages and Literature a and by Donna M. White, Interim Dean of The Graduate School. ABSTRACT The thesis explores the reception of classical mythology in three dramas by Woody Allen: Crimes and Misdemeanors (1989), Match Point (2005), and Cassandra’s Dream (2007). These films are studied as contemporary interpretations of the ancient stories of Oedipus, Narcissus, and Orestes. Allen’s films use mythic patterns to meditate on such ancient themes as illusion versus reality, status, alienation and self-identity, the tragedy of love, human conscience, moral choice and responsibility, fate and revenge, crime and punishment. The purpose of this study is to show how Woody Allen’s dramas originate from ancient mythology and how the study of Greek tragedy and Roman poetry sheds light on the problems centered in his movies, which are neglected by most critics. -
Dermatologist Relishes Cameo Roles
66 Practice Trends S KIN & ALLERGY N EWS • May 2008 T HE R EST OF Y OUR L IFE Dermatologist Relishes Cameo Roles riter and film director Woody down” (1999) and in “Small Time Crooks” Allen was about to leave Dr. (2000); a magician’s volunteer in “The WKenneth L. Edelson’s derma- Curse of the Jade Scorpion” (2001); an eye tology office on Manhattan’s Upper East doctor in “Hollywood Ending” (2002); a Side in March of 1986, when he turned to hotel desk clerk in “Anything Else” (2003); Dr. Edelson and made him a promise. and a disco guest in “Melinda and Melin- “In his inimitable manner, Woody da” (2005). Along the way, he has rubbed scratched his head and said, ‘You know Dr. elbows with scores of celebrities, includ- Edelson, you’re a real funny guy,’ ” re- ing Helena Bonham Carter, Mia Farrow, called Dr. Edelson, who did not know Mr. Will Ferrell, Dustin Hoffman, Helen Allen prior to that office visit. “‘I’m going Hunt, Sean Penn, Cybill Shepherd, Peter to put you in my next film.’ I thought, Weller, and Uma Thurman. ‘Yeah, right, I’ll be in the movies!’ ” Acting “allows some stress and tension DELSON The next day, Mr. Allen’s longtime cast- release,” said Dr. Edelson, who listed Jack- L. E ing director Juliet Taylor called Dr. Edelson ie Gleason, Red Skelton, Steve Allen, Lau- to confirm that Mr. Allen’s pledge was gen- rel and Hardy, Abbott and Costello, and ENNETH . K R uine and to inquire about his acting histo- the Three Stooges among his favorite D ry.