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Philosophy in Literature
Syracuse University SURFACE Syracuse University Press Libraries 1949 Philosophy in Literature Julian L. Ross Follow this and additional works at: https://surface.syr.edu/supress Part of the Philosophy Commons Recommended Citation Ross, Julian L., "Philosophy in Literature" (1949). Syracuse University Press. 3. https://surface.syr.edu/supress/3 This Book is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in Syracuse University Press by an authorized administrator of SURFACE. For more information, please contact [email protected]. OU_168123>3 ib VOOK t'l hvtent <J/ie tyovevnment //te ^United cf ai o an f.r^^fnto iii and yccdwl c/ tie llnited faaart/* *J/ie L/eofile of jf'ti OSMANIA UNIVERSITY LIBRARY CallNo. 9ol//k?/^ Accession No. < Author ""jj^vv JLj. This book should be returned on or before the date last marked below. PHILOSOPHY IN LITERATURE PHILOSOPHY IN LITERATURE JULIAN L. ROSS Professor of English, Allegheny College SYRACUSE UNIVERSITY PRESS IN COOPERATION WITH ALLEGHENY COLLEGE Copyright, 1949 SYRACUSE UNIVERSITY PRESS Only literature can describe experience, for the excellent reason that the terms of experience are moral and literary from the beginning. Mind is incorrigibly poetical: not be- cause it is not attentive to material facts and practical exigencies, but because, being intensely attentive to them, it turns them into pleasures and pains, and into many-colored ideas. GEORGE SANTAYANA TO CAROL MOODEY ROSS INTRODUCTION The most important questions of our time are philosoph- ical. All about us we see the clash of ideas and ideologies. Yet the formal study of philosophy has been losing rather than gaining ground. -
The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41). -
This List Is Meant for Reference Only – All Credits Below Should Be
LIST OF ACCEPTABLE CREDITS --- TELEVISION & DIGITAL MEDIA CATEGORIES This list is meant for reference only – all credits below should be considered eligible, unless otherwise specified in the 2018 Canadian Screen Awards TV and Digital Media Rules & Regulations booklet Appeals will be considered by the Awards Director for any credits not listed here. The production company may submit a letter stating why they feel the entrant should be included, as well as an explanation of their role in the production; this letter should be addressed to Louis Calabro, Director, Awards & Special Events. Please Note: Not all categories are listed in this document. Program Categories (not including DDDigitalDigital MMMedia,Media, NNNewsNews and SSSports)Sports) Executive Producer Executive Producer For (broadcaster) Co-Executive Producer Producer or Produced by Supervising Producer Series Producer Senior Producer (for informational / doc / talk shows / sports / “analytical” programming) Commissioning Editor (for informational / doc / talk shows / sports / “analytical” programming) Senior Executive Producer (for in house documentaries and broadcaster produced shows only) Episode Producer Content Producer For Best Factual Program or Series (1026) – Director or Producer eligible Note: For all Doc PROGRAM categories (Not Series) – “Director” is eligible Digital Media, News, Sports and Research Categories Any credit may enter, unless otherwise stated in Rules & Regulations booklet Directing (2001 ––– 2013) Only 2 entrants for this category. Any additional names -
How to Find Your Readers As a Fiction Writer
How to find Your readers as a fiction writer a 4-step workbook to walk4 you through finding your readership online Many fiction writers believe that they don’t need a platform. And while it’s true that literary agents and editors don’t expect aspiring novelists to have platforms, it’s just as true that writers must know how to find their readers if they want long-term success. Unfortunately, a lack of familiarity with the online landscape and a discomfort with putting creative work out there can cripple even the most promising book launch. This workbook will show you how to start putting your work in front of potential readers now, so that you can earn the trust and goodwill of the readership your work deserves. Building an author platform will allow you to: Sell more copies of existing books with less effort Launch a new book (or other content) successfully Get to know your readers so you can serve them better Avoid burnout so that book marketing is sustainable and rewarding Make a living as a full-time writer step 1: you Writing anything--whether it’s a novel or a tweet--starts with you. A platform will be meaningless drudgery if it doesn’t revolve around topics you love to talk about and read about. So here’s a chance to visualize yourself just as clearly as you would your next main character. This charac- ter sketch will help you pull up all the words that define you and lay them out visually, so you can inspect them as a whole. -
AS and a Level English Literature
AS and A Level English Literature Literary terms: A guide for students Literary terms: A guide for students Literary terms: A guide for students Contents Introduction .............................................................................................. 2 Frequently misused words ........................................................................... 3 General terms: .......................................................................................... 4 Poetry ...................................................................................................... 8 Genres ................................................................................................... 8 Analytic vocabulary ............................................................................... 10 Drama .................................................................................................... 11 Genres ................................................................................................. 11 Analytic Terms ...................................................................................... 12 Prose ...................................................................................................... 13 Genres ................................................................................................. 13 Analytic Terms ...................................................................................... 14 1 Literary terms: A guide for students Introduction The terminology below may be used support your reading and response -
On Violence: a Mimetic Perspective *
On Violence: A Mimetic Perspective * Wolfgang Palaver Ten years ago a violent tragedy happened in this town that still causes us to think about the problem of human violence. This period of ten years coincides exactly with the period since the end of the cold war and its significant change of the international political landscape. The first chapter of my paper will focus on the problem of civil wars that followed the end of the cold war and gave us a new insight into the complex nature of human violence. My second chapter will give a short introduction into René Girards mimetic theory that seems to me one of the most efficient analytical tools to understand violence, especially if we look at civil wars. A third chapter will address some of those questions that arise when we are confronted with tragedies like the Montréal Massacre. I will turn to the work of Dostoevsky to understand what may cause a man to run amok and kill other people - fourteen young women - cruelly, indiscriminately and without knowing them. In a concluding chapter I will give a short summary of possible answers to the problem of violence. 1. From the Cold War to Civil War During the eighties, optimistic members of the peace movement like me thought that if the cold war would ever end it would be followed by a period of peace and harmony. We were, however, quite wrong and had to learn our lesson when we were confronted with an increase of civil wars since 1989. In 1993 the German poet and essayist Hans Magnus Enzensberger published his book Civil Wars: From L.A. -
Read an Excerpt
MASTERFUL AND HEARTRENDING Milwaukee Journal-Sentinal Zink: the Myth, the Legend, the Zebra Drama by Cherie Bennett The Dramatic Publishing Company © The Dramatic Publishing Company, Woodstock, Illinois plores importantchés Brilliantlythemes exposesand whileMilwaukee easy and avoiding resolutionsex Shepherd cli Zink: the Myth, the Legend, the Zebra Drama. By Cherie Bennett. Cast: Version for 25 or more actors. Commissioned by First Stage Milwaukee, Zink is about true courage in the face of unpredictable predators. Imaginative, funny, and heartbreaking, it’s the story of the relationship between Becky, a lonely pre-teen girl with leukemia, and her guardian-angel herd of zebras on the African savannah. The zebras range from street-smart Ice Z to grandfatherly Papa Zeke, effete Zilch to endearing Schlep, a furry green monkey sure he is actually a zebra. In Africa, Becky learns about Zink, a mythical polka- dotted zebra once an outcast but later a hero with the most courage and biggest heart. Becky’s health worsens and she zaps back and forth between her real life and the zebra world until the shattering, breathtaking and uplifting climax. Never maudlin, “playwright Bennett does a masterful job of balancing the hard realities of ill- ness and the magic found on the zebras’ African plains. A clear case of theatrical risks bringing great rewards. (Milwaukee Journal-Sentinel) “Brilliantly exposes important themes while avoiding clichés and easy reso- lutions. Superb.” (Milwaukee Shepherd) Zink the Zebra diversity curriculum available from Zink the Zebra Foundation, Milwaukee, Wisconsin. Family drama, best for ages 8 and up. Simple, flexible set. ISBN: 0-87129-882-1 Code: Z20 Front cover: First Stage Milwaukee premiere production. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
Epsitemology, Literary Genre and Knowledge Organisation Systems
Epistemology, literary genre and knowledge organisation systems PAULINE RAFFERTY Aberystwyth University Llanbadarn Fawr, Ceredigion, Wales [email protected] Abstract This theoretical paper considers genre as the epistemological foundation for fiction retrieval systems, in particular the relationship between the individual work and generic systems. It explores the characteristics of literary genres, and how they are determined, and examines ontological and historical aspects of genre. It considers the relationship between historically contingent generic transformations and literary genre as categorising principle. Finally, it offers some suggestions for future design of fiction KOS. Keywords: Fiction, Genres, Knowledge organisation systems, Tagging. 20 Años del Capítulo Español de ISKO. Actas del X Congreso ISKO Capítulo Español (Ferrol, 2011) Universidade da Coruña (España), 2012. ISBN: 978-84-9749-535-6 Pp. 553-565 EPISTEMOLOGY, LITERARY GENRE AND KNOWLEDGE ORGANISATION SYSTEMS 555 1. Preface Traditionally, where knowledge organisation systems (KOS) have dealt with fictional works, the approach has generally been through genre (see Beghtol, 1989, 1990, for an overview of fiction classification schemes). The notion of genre as categorisation principle comes to library science, relatively unexamined, from literary theory. It underpins many of the assumptions that fiction KOS has about fictional texts, even when the focus of the fiction retrieval system is predominantly based on user-warrant (e.g. The Book House, Pejtersen, 199, 59). Raymond Williams wrote “the recognition of the relation of a collective mode and an individual object …is a recognition of related practices. That is to say, the irreducibly individual projects that particular works are, may come in experience and in analysis to show resemblances which allow us to group them into collective modes” (Williams, 2001, 179). -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Translating the Exiled Self: Reflections on Translation and Censorship*
Intercultural Communication Studies XIV: 4 2005 Samar Attar TRANSLATING THE EXILED SELF: REFLECTIONS ON TRANSLATION AND CENSORSHIP* Samar Attar Independent Researcher Self-Translating and censorship Translators tend to select foreign literary texts for translation into their mother-tongue for different reasons. Sometimes, their selection is based on the fame of a certain writer among his or her own people, or for the awarding of a prestigious international prize to a writer, or on the recommendation of an authoritative figure: a scholar, a critic, or a publisher. At other times, however, the opposite can be true. A writer who is not known among his or her own people is translated into another language, because his or her writing subverts the values of the national tradition, or destroys certain clichés about other nations, or simply because his or her work appeals to the translator.1 But we should not entertain the illusion that literary translators are always free agents. Although their literary taste and ideology may play an important role in their selection of foreign texts they often have to consider the literary, political and economic climate of their time. They simply do not translate texts because they like them. They are very much aware of the fact that translation cannot be brought to a fruitful end unless other authoritative bodies support them, and unless a publisher is found at the end of the ordeal. In short, personal, literary, social, political and economic factors always play an important role in the selection and translation of a foreign text. Normally the literary translator, who selects or is helped in selecting a foreign text, is expected to be a master of at least two languages including his or her own native tongue. -
Response: Hamartia in Greco-Roman Context
“Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources.