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Leggiera, Alle Ca D’Oro Per Aumentare Il Suo Pre- Di P.Svetonio Con La Xllli
Gruppo Archeologico SIAC INFORMATICA SRL centro commerciale Ingrosso Sett. A1/10 33170 Pordenone (PN) Polcenigo Tel. 0434 572922 Fax 0434 570285 Bollettino, ANNO VII, gennaio 2010, N. 7 www.siacinformatica.com [email protected] aucinius, Paucinico, Pulcinici, ecc., diversi nomi la costante raccolta in superficie di tutto quello che può per indicare un luogo, un abitato, un villaggio che suscitare interesse storico-archeologico. Pnel corso dei secoli si è modificato per diventare Concludo ringraziando i soci, gli sponsor per questo Polcenigo. La domanda che da molti anni mi faccio è bollettino e tutti i simpatizzanti del Gr.A.Po. come veniva chiamato il nostro paese prima dell’av- vento dei Romani? Sicuramente rimarrà senza risposta Il Presidente Oscar Riet visto che non ci sono documenti, però non c’è ombra di dubbio che il posto era frequentato fin dalla preistoria. Il palù del Livenza, la necropoli di San FLoriano ed ora anche l’ipotesi del castelliere sulla sommità del colle di San Floriano mi fanno pensare ad una grande comunità di genti che nel trascorrere dei secoli se non millenni si era stanziata e sviluppata proprio in questi luoghi, dove ogni giorno i soci del Gr.A.Po. raccolgono in superfi- cie tracce tangibili che testimoniano la vita quotidiana dei nostri antenati. Selci e ceramica del neolitico, pezzi di vasi dell’età del bronzo, schegge di vario materiale dell’età del ferro, per non parlare della romanità, del Il GR.A.Po al lavoro sul “CIASTELAT” periodo alto e basso medioevo, dell’avvento della Re- pubblica di Venezia, del Rinascimento, ecc. -
Storiografi Della Britannia Medievale: Tematiche Storiche E Letterarie
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AMS Tesi di Dottorato Università degli Studi di Bologna Dipartimento di Filologia Classica e Medioevale _______________________________________________________________ DOTTORATO DI RICERCA IN FILOLOGIA GRECA E LATINA Ciclo XXI Settore scientifico disciplinare: L-FIL-LET/04 STORIOGRAFI DELLA BRITANNIA MEDIEVALE: TEMATICHE STORICHE E LETTERARIE Tesi presentata da Alberto Zama Coordinatore del Dottorato Relatore Chiar.mo Prof. Chiar.mo Prof. Renzo Tosi Marco Scaffai Anni Accademici 2005-2006, 2006-2007, 2007-2008 PREMESSA Lo studioso che decida di analizzare un testo storiografico, di qualsiasi natura esso sia, ha la possibilità di farlo sotto molteplici punti di vista. Sotto questo aspetto, la storiografia è un genere poliedrico, caleidoscopico, che si presta ad indagini e fruizioni diverse. Si può in primo luogo trattare un testo storiografico come semplice fonte per un periodo storico: in tal caso, fondamentale sarà cercare di capire quali informazioni siano degne di fede e storicamente corrette. Si può invece analizzare il testo sotto l’aspetto letterario e filologico, valutandone aspetti di tradizione testuale e stilistici. Si può da ultimo scegliere di “far parlare” il testo, cercando di carpire dalle sue pieghe, dalla sua littera , il pensiero dell’autore, le sue convinzioni, la sua cultura, i suoi rapporti con le fonti e l’opinione che egli aveva del periodo storico che descriveva. Si tratta di un aspetto sottilmente ma significativamente diverso dal primo, in quanto non è in gioco la ricostruzione della storia del periodo, ma l’ idea che di quel periodo aveva lo storico in questione, giusta o sbagliata che fosse. -
Introduction: the Legend of King Arthur
Department of History University of Wisconsin-Eau Claire “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Professor Matthew Waters By Erin Pevan November 21, 2006 1 Copyright for this work is owned by the author. This digital version is published by McIntyre Library, University of Wisconsin – Eau Claire with the consent of the author. 2 Department of History University of Wisconsin-Eau Claire Abstract of: “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Matthew Waters By Erin Pevan November 21, 2006 The stories of Arthurian literary tradition have provided our modern age with gripping tales of chivalry, adventure, and betrayal. King Arthur remains a hero of legend in the annals of the British Isles. However, one question remains: did King Arthur actually exist? Early medieval historical sources provide clues that have identified various figures that may have been the template for King Arthur. Such candidates such as the second century Roman general Lucius Artorius Castus, the fifth century Breton leader Riothamus, and the sixth century British leader Ambrosius Aurelianus hold high esteem as possible candidates for the historical King Arthur. Through the analysis of original sources and authors such as the Easter Annals, Nennius, Bede, Gildas, and the Annales Cambriae, parallels can be established which connect these historical figures to aspects of the Arthur of literary tradition. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
273 KING ARTHUR of the ROMANS: LUCIUS ARTORIUS CASTUS and the SARMATIANS in BRITAIN J O H N M a T T H E W S the Earliest Docum
KING ARTHUR OF THE ROMANS: LUCIUS ARTORIUS CASTUS AND THE SARMATIANS IN BRITAIN J o h n M a t t h e w s UDK:94(37)Artorius Castus, L. 821.111-34 Izvorni znanstveni rad John Matthews Oxford (FIOS, BCM Hallowquest London U radu se iznose moguće veze između života rimskog vojnika iz 2. st., Lucija Artorija Kasta, i kasnijih, srednjovjekovnih legendi oko polu- mitskog kralja Artura. Autor pretpostavlja da se zahvaljujući natpisu otkrivenom u blizini Splita (Podstrana), može izgraditi čvrsta teza da je Kast bio najstariji povijesni lik za koji se može dokaza- ti da je utjecao na razvitak kasnijih legendi u Bri- taniji. Sačuvane su priče o sarmatskim ratnicima koji su u Britaniju došli kao dio rimskih legija, a kojima je zapovijedao sam Kast; naime sarmatske i keltske priče stapaju se međusobno u razdoblju nakon Kastovog života. The earliest documents that record the deeds of the British hero Arthur show that he was not perceived as a king but as a soldier, bearing the Latin title dux (duke); a charismatic leader who fought ‘alongside the leaders of the British’. Just such a man is a career-officer of the legions named Lucius Artorius Castus, who lived and fought in Britain in the 2nd century AD – almost 300 years earlier than the more usually accepted dates for Arthur. ‘Arthur’ is the generally accepted form today, but in reality this name has a far longer history and a variety of spellings. It can be proven with reasonable certainty that ‘Artorius’ either derives from the British name Arthur or is the Latin original of that name. -
Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College
Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Research Master's Theses, Dissertations, Graduate Research and Major Papers Overview and Major Papers 4-2009 Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Peirce, Merle Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films" (2009). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 19. https://digitalcommons.ric.edu/etd/19 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TRANSGRESSIVE MASCULINITIES IN SELECTED SWORD AND SANDAL FILMS By Merle Kenneth Peirce A Thesis Submitted in Partial Fulfillment of the Requirements for the Individualised Masters' Programme In the Departments of Modern Languages, English and Film Studies Rhode Island College 2009 Abstract In the ancient film epic, even in incarnations which were conceived as patriarchal and hetero-normative works, small and sometimes large bits of transgressive gender formations appear. Many overtly hegemonic films still reveal the existence of resistive structures buried within the narrative. Film criticism has generally avoided serious examination of this genre, and left it open to the purview of classical studies professionals, whose view and value systems are significantly different to those of film scholars. -
GLADIATOR by David Franzoni Revisions by John Logan SECOND
GLADIATOR by David Franzoni Revisions by John Logan SECOND DRAFT October 22, 1998 FADE IN: EXT. FOREST - DAY Germania. The far reaches of the Roman Empire. Winter 180 A.D. Incongruously enough, the first sound we hear is a beautiful tenor voice. Singing. A boy's voice. CREDITS as we hear the haunting song float through dense forests. We finally come to a rough, muddy road slashing through the forest. On the road a GERMAN PEASANT FATHER is herding along three sickly looking cows. His two SONS are with him. His youngest son sits on one of the cows and sings a soft, plaintive song. They become aware of another sound behind them on the road -- the creak of wood, the slap of metal on leather. The Father immediately leads his cattle and his sons off the road. They stand-still, eyes down: the familiar posture of subjugated peoples throughout history. A wagon train rumbles past them. Three ornate wagons followed by a mounted cohort of fifty heavily-armed PRAETORIAN GUARDS. The young boy dares to glance up at the passing Romans. His eyes burn with hatred. INT. WAGON - DAY Mist momentarily obscures a man's face. Frozen breath. The man is in his 20's, imperious and handsome. He is swathed in fur, only his face exposed. He is COMMODUS. He glances up. COMMODUS Do you think he's really dying? The woman across from him returns his gaze evenly. She is slightly older, beautiful and patrician. A formidable woman. She is LUCILLA. LUCILLA He's been dying for ten years. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe. -
Gladiator from Screenplay to Screen
NKL1 12/15/03 3:46 PM Page 1 chapter one Gladiator from Screenplay to Screen Jon Solomon Everyone interested in tracing the development of Gladiator has access to various sources: two preliminary versions of David Franzoni’s screen- play; several Internet interviews with Franzoni, director Ridley Scott, and co-producer Douglas Wick; the film itself; extra footage on its DVD issue; numerous comments on the World Wide Web; and, finally, the ancient historical sources for the life of the villainous Commodus – Cassius Dio, Herodian, and the Augustan History.1 The following essay offers a study of the development of Gladiator based on these sources, from its original artistic concept to its release version. To most of us, this may seem like a common or easy enough task: reading interviews with filmmakers, examining their notes or drafts, and finding additional material on a DVD or on the Web. But nothing could be further from the truth when these methods of research are applied to an ancient story. For example, Homer is not available for interviews, and we have none of Virgil’s notes or drafts. On his deathbed, Virgil report- edly requested his friends to burn the one copy of his not quite finished Aeneid, Rome’s national epic. We are fortunate to have his poem, but we cannot examine his notes or drafts. 1 The two drafts of the screenplay are published electronically at http://www.hundland. com/scripts/Gladiator_FirstDraft.txt (revised and dated April 4, 1998) and http://www. hundland.com/scripts/Gladiator_SecondDraft.txt (revised by John Logan and dated October 22, 1998). -
Tomory, Zsuzsa a New View of the Arthurian Legends
A NEW VIEW OF THE ARTHURIAN LEGENDS Susan V. Tomory FOREWORD King Arthur and his Knights of the Round Table, the stories of Merlin and Sir Lancelot are all part of the ancient memories of a people who barely emerge from the clouds of time. The first written document about the Round Table came from the works of Wace of Jersey, entitled Roman de Brut, dated 1155 A.D[1] The legend’s origin reaches back into a distant past we arrogantly call pre-history, even though it contains the greater and most decisive part of our human history. Although the legends of King Arthur come from a magical age their message is still relevant to us — all too rational residents of this century — as myth and history unfold in all our lives, just as much as it did at the time of Arthur. The Arthurian legend is intertwined with the very fabric of British thought and became its Holy Grail, in which 1 all quests and dreams, dictated by our higher nature, have come to rest through untold centuries. The traditions of the legend are very actively adhered to even today, as evidenced, for instance, by the caring of the ravens in the hope of Arthur’s return and with him the re-establishment of a new Golden Age. As more knowledge becomes available through research, concerning the origins of the Arthurian legends, the mist of time begins to lift. People, places and events take on a more and more discernible shape. From this new knowledge, new questions arise and new answers have to be found. -
Mckinnon Alex J 2015 Masters.Pdf (174.1Ko)
GOD OF TOIL ALEX MCKINNON A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN FILM YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2015 © ALEX MCKINNON, SEPTEMBER 2015 ABSTRACT God of Toil is a feature screenplay in the fantasy genre that questions the concepts of destiny and birthright while exploring the morality of war. The hero Rufus is a retired warrior of mythical stature desperate to leave behind his violent ways in order to live a life of pacifism and service. When forced back into service, he faces the reverberations of the atrocities he committed in his youth. In failing to right them despite his most earnest efforts, he confronts the potential of his own irredeemability. This supporting document details the genesis of the idea, the intentions that motivated choices of craft and art, as well the research and influences drawn upon to shape the narrative. ii TABLE OF CONTENTS Abstract......................................................................................................................................................ii Table of Contents......................................................................................................................................iii Chapter 1: Introduction..............................................................................................................................1 Chapter 2: World of the Story....................................................................................................................2