Archaism and Anachronism Across Media
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Problems in Translating Pessoa's Poetry Into English
Problems in translating Pessoa’s poetry into English John Pedro Schwartz* Keywords Translation, Rhyme, Meter, Personal infinitive, Verb tense. Abstract This paper focuses on five problems all translators of Fernando Pessoa’s poetry into English must grapple with. The first is whether or not to distinguish the poetry of Pessoa (orthonym), Álvaro de Campos, Alberto Caeiro and Ricardo Reis through the use of stylistic and lexical markers. The second is: to what degree should the translator imitate Pessoa’s occasional labyrinthine constructions? Third, every translator must decide at the outset whether or not to use rhyme and meter, where these occur in Pessoa’s poetry. The final two problems concern Portuguese grammar: how to translate the pretérito perfeito do indicativo [simple past tense], which lends itself in English to both simple past and present perfect tenses; and how to translate the personal infinitive, a form unique among all languages for handling a change in subject within a sentence. Palavras-chave Tradução, Rima, Métrica, Infinitivo pessoal, Tempo verbal. Resumo Este artigo foca-se nos cinco problemas com os quais qualquer tradutor da poesia pessoana tem de batalhar quando traduz para inglês. O primeiro é distinguir ou não a poesia de Pessoa (ortónimo), da de Álvaro de Campos, Alberto Caeiro e Ricardo Reis através de indicações estilísticas e lexicais. O segundo é até que ponto o tradutor deve imitar as construções labirínticas ocasionais. Terceiro, o tradutor tem de decidir no início se deve usar rima e métrica ou não, quando e onde estas ocorram na poesia de Pessoa. Os dois problemas finais referem-se à gramática portuguesa: como traduzir o pretérito perfeito do indicativo, que em inglês empresta-se ambos ao simple past tense e ao present perfect tense; e como traduzir o infinitivo pessoal, uma forma única de todos os idiomas para lidar com uma mudança de sujeito dentro de uma frase. -
Recommended Films: a Preparation for a Level Film Studies
Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’. -
The Application and E-C Translation Methods of Common Archaisms in Business Contract
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 7, No. 9, pp. 798-803, September 2017 DOI: http://dx.doi.org/10.17507/tpls.0709.12 The Application and E-C Translation Methods of Common Archaisms in Business Contract Jialei Hu Department of A14 Business English, Zhejiang Ocean University, Zhejiang Province, China Huixia Lu Institute of Foreign Language, Zhejiang Ocean University, China Abstract—Archaism (Old English) is rare in daily modern English, but often appears in business contracts. Business contract is a legal document, it has its own language style, one of the most typical characteristic is the use of archaism. It is necessary to learn the archaism in detail. This article mainly explores the archaism from three aspects----word-formation law, E-C translation method and the specific use in contracts. Index Terms—archaism, business contract, application, translation I. INTRODUCTION The language of business contract language is a variant of English language and a special English literary form. It belongs to ESP (English for Specific Purposes). In breakdown, the application of archaism is a major feature of contract language. The basic requirement of business contracts is not the beauty of language, but the formal, accurate expressions, to show its rigor. The archaism such as “hereby”, “thereto” used in business contracts makes sentence structures more concise, and texts more solemn. Only to figure out the translation techniques of the archaism can we achieve its function in business contract at a maximum extent. Because archaism can be applied as a mean of linking up in contracts, it is highly vital to draft and translate the contract. -
Archaisms in Legal Contracts- a Corpus-Based Analysis
European Journal of English Language and Literature Studies Vol.6, No.4, pp.5-20, May 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) ARCHAISMS IN LEGAL CONTRACTS- A CORPUS-BASED ANALYSIS Babatunde Israel Awe and Patrick Sehinde Fanokun Department of English Studies, Adekunle Ajasin University, Akungba-Akoko, Ondo State, Nigeria ABSTRACT: Language is particularly significant in law because it is through it that law finds expression. From formulation to interpretation and enforcement, law exclusively depends on language. Legal contract is notorious for formalities and unchanging nature, especially with the use of archaic words and formulaic expressions is an important genre of legal English. Although the formalities afford lawyers opportunity to achieve “precision”, they constitute a serious challenge for the layman. This study examined the frequency, structure, and meaning of archaisms to argue that the elements are operational tools in legal contracts. The data for the study were derived from ten purposively sampled legal contracts (scanned and converted to electronic-version) of about 7116 words of the Akure Judicial Division of Ondo State Nigeria. With corpus linguistics methodologies, using register analysis within the purview of Systemic Functional Grammar, the study adopted the content analysis methodology to identify archaisms in the legal contracts, and to quantitatively and qualitatively analysis the data. The study found 20 archaisms of 4 categories occurring 187 times (2.6%) of the total number of words to justify the claim that archaisms, which are no more found in general English usage, are still very much in use in legal documents, especially contracts. -
SETDECOR Magazine – Online 2015 Nominations
SETDECOR Magazine – Online 2015 Nominations NOMINATIONS FOR THE 20th ANNUAL CRITICS’ CHOICE MOVIE AWARDS BEST PICTURE BEST YOUNG ACTOR/ACTRESS Birdman Ellar Coltrane – Boyhood Boyhood Ansel Elgort – The Fault in Our Stars Gone Girl Mackenzie Foy – Interstellar The Grand Budapest Hotel Jaeden Lieberher – St. Vincent The Imitation Game Tony Revolori – The Grand Budapest Hotel Nightcrawler Quvenzhane Wallis – Annie Selma Noah Wiseman – The Babadook The Theory of Everything Unbroken BEST ACTING ENSEMBLE Whiplash Birdman Boyhood BEST ACTOR The Grand Budapest Hotel Benedict Cumberbatch – The Imitation The Imitation Game Game Into the Woods Ralph Fiennes – The Grand Budapest Hotel Selma Jake Gyllenhaal – Nightcrawler Michael Keaton – Birdman BEST DIRECTOR David Oyelowo – Selma Wes Anderson – The Grand Budapest Hotel Eddie Redmayne – The Theory of Ava DuVernay – Selma Everything David Fincher – Gone Girl Alejandro G. Inarritu – Birdman BEST ACTRESS Angelina Jolie – Unbroken Jennifer Aniston – Cake Richard Linklater – Boyhood Marion Cotillard – Two Days, One Night Felicity Jones – The Theory of Everything BEST ORIGINAL SCREENPLAY Julianne Moore – Still Alice Birdman – Alejandro G. Inarritu, Nicolas Rosamund Pike – Gone Girl Giacobone, Alexander Dinelaris, Jr., Reese Witherspoon – Wild Armando Bo Boyhood – Richard Linklater BEST SUPPORTING ACTOR The Grand Budapest Hotel – Wes Josh Brolin – Inherent Vice Anderson, Hugo Guinness Robert Duvall – The Judge Nightcrawler – Dan Gilroy Ethan Hawke – Boyhood Whiplash – Damien Chazelle Edward Norton – Birdman -
Stealing the Show By: Emma Robertson in Damien Chazelle's Hit Movie Musical “La La Land," Heartthrob Ryan Gosling and C
Stealing the Show By: Emma Robertson In Damien Chazelle’s hit movie musical “La La Land," heartthrob Ryan Gosling and charmer Emma Stone come together to artfully portray two struggling performers living in the fast-paced world of Los Angeles. Mia (Stone) is an aspiring actress who has been juggling auditions and her part-time job as a barista at a coffee shop on the Warner Bros. lot. Sebastian (Gosling) is a jazz musician who aspires to open his own jazz club in order to revive the music genre. The two are swept up into a whirlwind romance but must eventually choose between their relationship and their flourishing careers. The musical opens with a dramatic dance number; people who are stuck in standstill traffic pour out of their cars and flood the streets, jumping, dancing and singing. The following few songs are also accompanied by strong choreography, all at the hands of choreographer Mandy Moore. However, as the movie progresses, the music transitions to softer pieces that use the lyrics to propel the plot. Composer Justin Hurwitz works in simple, yet hauntingly beautiful melodies that will get stuck in your head for days. A standout feature of “La La Land” is the acting. Gosling and Stone play their characters with such a naturalness that you may feel almost intrusive at times. In particular, during a scene in which Mia and Sebastian are arguing, it feels as if you are sitting in on a conversation you shouldn’t be because the argument is so realistic and intimate. The actors feel like real people, not like movie characters. -
The Lack of Recognition for the Film Choreographer in Hollywood
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 6-2020 The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Dance Commons, and the Film and Media Studies Commons The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Commercial Dance Major Art & Entertainment Management Minor Virginia Cox, MS Dyson College of Arts and Sciences Presentation Date: June 2020 Graduation Date: May 2020 1 Abstract The following research directly addresses why the film choreographer has lacked adequate recognition within the Academy Awards, popularly known as the Oscars, presented by the Academy of Motion Picture Arts and Sciences. Additionally, this study aims to fill the research gap in relation to the minimal documentation that exists regarding the role and contributions of the film choreographer within the film industry. In order to move forward in assessing how the film choreographer can be recognized within the Oscars, one must address why they have not been sufficiently recognized within the history of the Academy Awards. By assessing the film choreographer’s value within the film industry through semi-structured interviews and data analysis methodologies, it was concluded their lack of recognition within the Oscars is due to the lack of dance’s presence in film, the undefined role of a film choreographer, and the general lack of awareness revolving around their contributions to film. All of which directly contribute to the film choreographer’s disproportionately perceived value within the film industry. Overall, this research intends to increase the dialogue revolving around the film choreographer as well as validate their value within the film industry. -
Allusion As a Cinematic Device
I’VE SEEN THIS ALL BEFORE: ALLUSION AS A CINEMATIC DEVICE by BRYCE EMANUEL THOMPSON A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2019 An Abstract of the Thesis of Bryce Thompson for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2019 Title: I’ve Seen this All Before: Allusion as a Cinematic Device Approved: _______________________________________ Daniel Gómez Steinhart Scholarship concerning allusion as a cinematic device is practically non- existent, however, the prevalence of the device within the medium is quite abundant. In light of this, this study seeks to understand allusion on its own terms, exploring its adaptation to cinema. Through a survey of the effective qualities of allusion, a taxonomy of allusionary types, film theory, and allusion’s application in independent cinema, it is apparent that allusion excels within the cinematic form and demonstrates the great versatility and maximalist nature of the discipline. With the groundwork laid out by this study, hopefully further scholarship will develop on the topic of allusion in order to properly understand such a pervasive and complex tool. ii Acknowledgements I would like to thank my thesis committee of Professor Daniel Steinhart, Professor Casey Shoop, and Professor Allison McGuffie for their continued support, mentorship, and patience. I would also like to thank Professor Louise Bishop who has been immensely helpful in my time at university and in my research. I have only the most overwhelming gratitude towards these gracious teachers who were willing to guide me through this strenuous but rewarding process, as I explore the maddening and inexact world of allusion. -
EXPLORING THETA WAVES an Ambient Live Set with Binaural Beats & Modular Synths
C O S T A N Z A F R A N C A V I L L A __________________________________________________ EXPLORING THETA WAVES an ambient live set with Binaural Beats & Modular Synths Born in Rome and based in Ibiza, Costanza Francavilla is an Italian composer and music producer. She combines the use of analog / modular synthesizers and sound manipulation mixing electronica with classical music, with an evocative and minimalist approach. Her sultry vocals and electronic dreamlike compositions fascinated Massive Attack member Tricky, with whom she collaborated for several years as a singer and co-producer. He would referred to her as 'the female version of me’ Throughout her carrier she's been performing with many acts in prestigious festivals and venues around the world including Royal Festival Hall, Glastonbury (UK), Sonar (ES), Montreaux Jazz Festival. She composes and produces music for movie trailers (such as “Blade Runner 2049”, “Counterpart, “Hunger Games” among others) and film. Her film-score credits include “Friedkin Uncut” about The Exorcist cult director William Friedkin starring Quentin Tarantino, Francis Ford Coppola, Wes Anderson, Damien Chazelle , (Nominee at Venice Film Festival), “S is For Stanley” about Stanley Kubrick (winner at Davide Di Donatello), “Free Men”about death-row inmate Kenneth Rems (presented at Festival of Human Rights). Since she moved to Ibiza in 2016 she’s been exploring ways of vibroacoustic & sound-wave therapies that include the use of meditation instruments such as Tibetan Singing Bowls, Crystals Pyramids, Hand Pans. Costanza’s ambient live set includes such instruments and her ethereal vocals combined with the use of modular synthesizers guiding the audience into a dreamlike-state through Binaural Beat stimulation in Theta brainwave frequencies. -
CHAPTER I INTRODUCTION in This Chapter, the Writer Presents (A) Background of the Study, (B) Statements of the Problem, (C) Purp
1 CHAPTER I INTRODUCTION In this chapter, the writer presents (a) background of the study, (b) statements of the problem, (c) purpose of study, (d) scope and limitation, (e) significance of study, and (f) definition of key term. 1.1 Background of the Study Literature has been widely known by many people and experts. The word ‘literature’ derives from the word ‘littera’ in Latin which means letter. It refers to the written or printed words. However, now, the term ‘literature’ is focused move on and restricted to merely imaginative works, which comes up from the imaginative mind of the story writers. Klarer (2004:1) asserts that in most cases, literature referred to as the entirety of written expression, with the restriction that not every written document can be categorized as literature in the more exact sense of the word. Literature then, can be said as a creative writing by an author with aesthetic values which makes literature regarded as an art. Nowadays, literature exists because it pleasures us by imitating life, or more precisely, by displaying its writers’ vision of life as it should be (Koesnosoebroto in Vibriyanti (2016: 1). Its means literature can give pleasure, and show what is happening around us and in what perspective of life and poured into literary work. One of literary works is film. Film is predetermined by literary techniques: conversely, literary practice developed particular features under the impact of film (Klaler, 2004: 56). People in every part of the world watch film that tells stories as a type of entertainment; a way to have fun. -
89Th Oscars® Nominations Announced
MEDIA CONTACT Academy Publicity [email protected] January 24, 2017 FOR IMMEDIATE RELEASE Editor’s Note: Nominations press kit and video content available here 89TH OSCARS® NOMINATIONS ANNOUNCED LOS ANGELES, CA — Academy President Cheryl Boone Isaacs, joined by Oscar®-winning and nominated Academy members Demian Bichir, Dustin Lance Black, Glenn Close, Guillermo del Toro, Marcia Gay Harden, Terrence Howard, Jennifer Hudson, Brie Larson, Jason Reitman, Gabourey Sidibe and Ken Watanabe, announced the 89th Academy Awards® nominations today (January 24). This year’s nominations were announced in a pre-taped video package at 5:18 a.m. PT via a global live stream on Oscar.com, Oscars.org and the Academy’s digital platforms; a satellite feed and broadcast media. In keeping with tradition, PwC delivered the Oscars nominations list to the Academy on the evening of January 23. For a complete list of nominees, visit the official Oscars website, www.oscar.com. Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees. Active members of the Academy are eligible to vote for the winners in all 24 categories beginning Monday, February 13 through Tuesday, February 21. To access the complete nominations press kit, visit www.oscars.org/press/press-kits. The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. -
Sundance Institute Selects Eight Firsttime Filmmakers for Directors
FOR IMMEDIATE RELEASE Media Contact: May 5, 2016 Chalena Cadenas 310.360.1981 [email protected] Sundance Institute Selects Eight FirstTime Filmmakers for Directors Lab, May 30June 23 Filmmakers Head to Mountains of Utah for Month of HandsOn Project Development; Advisors, Actors and Crew Include Robert Redford, Catherine Hardwicke, Kasi Lemmons, Ira Sachs Frances Bodomo | Annie Silverstein | César Cervantes | Kibwe Tavares | Eva Vives | Sandhya Suri | Pippa Bianco | Boots Riley Los Angeles, CA — Sundance Institute has selected eight firsttime filmmakers for its signature Directors Lab, which helped launch the careers of awardwinning filmmakers Cary Fukunaga, Dee Rees, Marielle Heller, Benh Zeitlin and Quentin Tarantino. Taking place May 30June 23 in the mountains of Sundance Resort in Utah, the annual Lab supports the next wave of independent filmmakers exploring new ideas and shaping the future of storytelling. At the Directors Lab, under the leadership of Sundance Institute Feature Film Program Founding Director Michelle Satter, Labs Director Ilyse McKimmie and the artistic direction of Gyula Gazdag, the Fellows will work with an accomplished group of creative advisors, professional actors and production crews to shoot and edit key scenes from their screenplays. Through this concentrated, handson process, the Fellows workshop and make key discoveries about their scripts, collaborate with actors and find a visual storytelling language for their films. Michelle Satter, Founding Director of the Sundance Institute Feature Film Program, said, “Our Directors Lab and other programs play a critical role in discovering diverse artists and launching their careers, and this year's filmmakers are our most diverse group ever in terms of their backgrounds, experiences and perspectives.