Search results “Stylistic analysis the importance of being earnest”
Do the Right Thing: Crash Course Film Criticism #6
Mainstream American films don’t often tackle race and racism head-on, and when they do, they often end up trying to find easy answers. Which makes films like Spike Lee’s Do the Right Thing all the more powerful. It’s an intimate portrait of a Brooklyn neighborhood dealing with rising tensions on the hottest day of the year. It's also fun, funny, and full of life. In this episode of Crash Course Film Criticism, Michael Aranda walks us through Do The Right Thing! *** Check out all 15 films we'll be talking about below!!! Citizen Kane Aliens Where Are My Children? Selma In the Mood For Love Do the Right Thing Lost In Translation Apocalypse Now Pan's Labyrinth The Limey Three Colors: Blue The Eagle Huntress Moonlight Beasts of No Nation 2001: A Space Odyssey *** Produced in collaboration with PBS Digital Studios: http://youtube.com/pbsdigitalstudios The Latest from PBS Digital Studios: https://www.youtube.com/playlist?list... *** Want to find Crash Course elsewhere on the internet? Facebook - http://www.facebook.com/YouTubeCrashC... Twitter - http://www.twitter.com/TheCrashCourse Tumblr - http://thecrashcourse.tumblr.com Support Crash Course on Patreon: http://patreon.com/crashcourse
Views: 127401 CrashCourse
How does word choice affect tone and meaning?
Learn the difference between denotation and connotation, how connotations create the author's tone, and how both create meaning. Closely study a poem by Ernest Hemingway, "All armies are the same..." Hemingway's poem, written about his experiences in World War I, remains a devastating statement about war seen from the soldier's perspective. This video addresses the Common Core standard, CCSS-ELA Literacy RL9-10.4 : "Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone)." For folks with a Common Core aversion: this is stuff that has been taught in English classes for ages, but perhaps not all together. I break up the complex task into two more manageable ones. I appreciate any feedback teachers and students can offer! Leave a comment! (Select 1080p for higher resolution images.) Now on Twitter @mistersato411
Views: 105678 mistersato411
Joseph L. Mankiewicz  on filmmaking & the importance of character
The brilliant films and career of Joseph L. Mankiewicz (1909-1993) have long occupied a paradoxical and stubbornly unclassifiable place in the history of the American cinema. In many ways Mankiewicz's immeasurable talents as both screenwriter and director seem to be neatly summarized in All About Eve, the dazzling and trenchant satire of stardom and celebrity Darwinism that remains his disproportionately best known work. Certainly, Eve's sophisticated and jaundiced screenplay epitomizes Mankiewicz's seasoned distrust of Hollywood and his fervently countercurrent belief in the popular cinema's untapped ability to intellectually engage and cultivate an intelligent audience. All About Eve also crystallizes one of Mankiewicz's perennial themes – the theater as a mirror game of real life in which human identity is revealed to be mercurially instable, an illusion founded in role-playing and disguise. The indelible trio of Eve Harrington, Margo Channing and Addison de Wit further exemplify Mankiewicz's attraction to larger-than-life personalities – and, above all, to strong heroines – whose richly nuanced psychological motivations defined complexly three-dimensional characters where others would have crafted mere caricatures. Yet, the full range of Mankiewicz's innovative artistic vision went far beyond his iconic Broadway cautionary tale to span a long and impressively diverse career successfully mastering a wide variety of different genres – from the dark, gothic melodrama of Suddenly, Last Summer and Dragonwyck, to the historical costume epic of Cleopatra, the nostalgic period comedy of The Late George Apley, the stylish musical of Guys and Dolls and the espionage thriller of 5 Fingers. Uniting the remarkable diversity of his oeuvre was Mankiewicz's enduring fascination with the past – be it the historical past of Cleopatra's ancient Egypt and Julius Caesar's Rome, or George Apley's turn-of-the-century Boston, or the subjective past explored repeatedly through the modernist and often highly self-conscious flashback narration that became one of Mankiewicz's signature stylistic devices. Starting as a director when he was an established thirty-seven-year-old Hollywood insider, Mankiewicz's films are also tinged with a nostalgia for the past of sound cinema's early years, a period that saw the brief efflorescence of the dialogue-driven and intellectually sophisticated mode of cinema that his own films would fiercely champion. Born in Pennsylvania to a family of German émigré academics, the Manhattan-raised and Columbia-educated Mankiewicz received his first practical training in cinema at Germany's UFA studios, writing titles for silent films, before he was beckoned to Hollywood by his older brother, the then wildly successful screenwriter Herman J. Mankiewicz. Young Joseph Leo's apprenticeship in the Hollywood studio system saw him quickly recognized as a wunderkind screenwriter, launched to fame by the first of his many Oscar nominations at the tender age of twenty-one. Soon after, Mankiewicz was recruited by Louis B. Mayer to work as producer under the legendary Irving Thalberg, a promotion that led to a decade shaping and overseeing such iconic works as Fritz Lang's Fury, The Philadelphia Story and the first Tracy-Hepburn pairing, Woman of the Year. Mankiewicz's biggest career move was launched rather unexpectedly in 1946 by an abrupt invitation from his hero and mentor Ernest Lubitsch suggesting Mankiewicz take over direction of Dragonwyck. For the next eight years Mankiewicz flourished at Fox and under head of production Darryl F. Zanuck, efficiently directing an impressive eleven films – many of whose screenplays he also wrote. Mankiewicz's ascent as an A-list auteur culminated with his back-to-back director and screenwriter Oscars for both A Letter to Three Wives and, the very next year, All About Eve, an astonishing feat that will most likely never be repeated. Mankiewicz's departure from Hollywood as an independent director and founder of his own production company, Figaro, was partially inspired by his disgust at the conservative turn of the studios and the Red baiting tactics that he famously defied – at great risk – as President of the Screen Writer's Guild. Moving back to his home town of New York City, Mankiewicz patiently struggled to realize the series of fascinating, opulent films that defined his late career, proto-art films such as The Barefoot Contessa and The Honey Pot and his two pictures with Elizabeth Taylor, Suddenly, Last Summer and the ill-fated Cleopatra which together revealed Mankiewicz's love of lush theatricality increasingly leaning towards the decadent and overripe. Reclusive and famously private in his late years, Mankiewicz delivered a remarkable surprise last act with the critically acclaimed Sleuth, a summary meditation on theatricality and performance that counts among his very finest works.
Views: 4079 Eyes On Cinema
Charlotte Bronte: Jane Eyre
Subject:English Paper: Nineteenth Century English Literature
Views: 1359 Vidya-mitra
POV: Point of View
Learn the different kinds of narrative POV: reliable first person, unreliable first person, omniscient third person, limited third person, objective third person, and even the rarely-used second person. Also, better understand why understanding POV is an important life skill, beyond the writing or study of literature. Now on Twitter @mistersato411
Views: 429017 mistersato411
Literary Devices in  The Great Gatsby
Please enjoy my AP English Literature Project!
Views: 831 Robert Finkelston
Hypotaxis and Parataxis | Sentence Structure | The Nature of Writing
In this video we explain the difference between hypotaxis and parataxis. Whereas a hypotactic writing style favours the subordination of clauses, a paratactic style places clauses beside each other with minimal use of conjunctions. For more information, please visit http://www.natureofwriting.com/connecting-sentences/ The Nature of Writing is a Youtube channel and website (https://www.natureofwriting.com) dedicated to the teaching of English literature and writing. To support this work, please visit our donate page: https://natureofwriting.com/donate/
Views: 4503 The Nature of Writing
20th  Century and the 21st (ENG)
Subject : English Paper : Literary Translation in India
Views: 665 Vidya-mitra
Mod-03 Lec-13 The Age of Chaucer
English Language and Literature by Dr. Liza Das & Dr. Krishna Barua,Department of Humanities and Social Sciences,IIT Guwahati.For more details on NPTEL visit http://nptel.ac.in
Views: 3952 nptelhrd
Mod-03 Lec-19 Modern Literature
English Language and Literature by Dr. Liza Das & Dr. Krishna Barua,Department of Humanities and Social Sciences,IIT Guwahati.For more details on NPTEL visit http://nptel.ac.in
Views: 1358 nptelhrd
The Beauty of the Dinner Scene
Let's take a close look at how films use the dinner scene to show much more than people eating. I added captions so you can see what movies I am showing! Use the Subtitles/CC titled "English (United States)" under the settings.
Views: 392274 Now You See It
5 Tips for MA English   Easy Notes + Audio Lectures   MK Bhutta
5 Tips for MA English - Easy Notes + Audio Lectures - MK Bhutta Fresh Notes on Classical Poetry, Classical Drama, Novel, Prose, American Literature, Criticism. Modern Poetry, Modern Drama: Syllabus / Course of MA English part 1 / I / One Panjab University / PU Lecturer M K Bhutta 03334655305 & 03134655305 Online Couching 2100 Recorded Lectures Course Outline Part 1 M.A. (English) Part I Examination (Outlines of Tests) Marks Paper I (Classical Poetry) 100 Paper II (Drama) 100 Paper III (Novel) 100 Paper IV (Prose) 100 Paper V (American Literature) 100 Total 500 (Syllabus and course of reading) Paper I: (Classical Poetry) 1. Chaucer The Prologue 2. Milton Paradise Lost Books I & Book IX 3. Donne Love/Divine Poems 4. Pope The Rape of the Lock. 5. Wyatt The Long Love That in My Thought Doth Harbor, Whose List to Hunt, Madam Withouen Many Words, They Flee from Me. Is it Possible Forget Not Yet, What should I say Stand who so list. 6. Surrey My Friend the Things That Do Attain Love, That Doth Reign and Live Within My Thought, So Cruel Prison, Wyatt Resteth Here. Paper II: (Drama) 1. Sophocles Oedipus Rex 2. Marlowe Dr. Faustus 3. Shakespeare Othello The Winter’s Tale 4. Wilde The Importance of Being Earnest Paper III: (Novel) 1. Trollope Barchester Towers 2. Jane Austen Pride & Prejudice 3. G. Eliot Adam Bede 4. Dickens A Tale of Two Cities 5. Hardy The Return of the Native Paper IV: (Prose) 1. Bacon Essays: Of Truth Of Death Of Revenge Of Adversities Of Simulation and Dissimulation Of Parents and Children Of Great Place Of Nobilitie Of Superstition Of Friendship Of Ambition Of Studies 2. Jonathan Swift Gulliver’s Travels 3. Bertrand Russell Unpopular Essays 4. Edward Said Only the introduction to the book entitled “Culture and Imperialism” 5. Seamus Heaney Only the essay “The Redress of Poetry” from the book entitled The Redress of Poetry Paper V: (American Literature) Poetry 1. Adrienne Rich Diving into the Wreck Aunt Jennifer’s Tigers Final Notation Gabriel 2. Sylvia Plath Ariel Morning Song Poppies in October The Bee Meeting The Arrival of the Bee Box Your 3. Richard Wilbur Still Citizen Sparrow After the last Bulletin Marginalia 4. John Ashbury Melodic Train Painter Drama 1. O’Neil Mourning becomes Electra (only the First of the Trilogy which is titled ‘The Home Coming’ is included in the M.A. Syllabus) 2. Miller The Crucible Novel 1. Ernest Hemingway For whom the Bell Tolls 2. Toni Morrison Jazz Lecturer Mk Bhutta Whats app 03334655305
Views: 126716 Bhutta Academe
Even MORE Brilliant Moments in Film
We're back with our Brilliant Moments series to take a look at patterns. In these 5 scenes, we break down the techniques used as tension is built, hopes are dashed and fears are realized. And if you haven't seen any of these movies here's a big SPOILER ALERT! Check the timecodes below if you want to bounce around the video to avoid spoilers! 0:50 - The Artist 4:40 - 10 Cloverfield Lane 10:10 - Jarhead 14:50 - You Were Never Really Here 20:25 - Room Written by @TheBillyJackson VO by @clintgage Subscribe to CineFix for more movie-related content. http://goo.gl/9AGRm Follow us Twitter: https://twitter.com/CineFixNetwork And we're on the Facebook: http://www.facebook.com/CineFixNetwork More Recent CineFix Videos: Start Watching Giallo! https://youtu.be/JYyMuWhQNno 2001 A Space Odyssey, The Big Chill and more of the Best Soundtracks of All Time https://youtu.be/PKwwFffusqE The 100 MOST talked about movies on CineFix https://youtu.be/ZBM7DYktEyo Top 10 Musical Moments of All Time https://youtu.be/l4DvATwdjM0 How is Steven Spielberg's Ready Player One different from Ernest Cline's? https://youtu.be/Op13NTkS5lw Why you should watch It Follows and The Blair Witch Project back to back! https://youtu.be/6-CewlQISpI
Views: 457994 CineFix
Film Theory: Exposing Deadpool's SECRET Identity!
Special Thanks to The Dollar Shave Club for Sponsoring this video! Get the Executive Razor with a tube of Dr. Carver’s Shave Butter for ONLY $5 ►► http://www.dollarshaveclub.com/filmtheory Rick and Morty + Gravity Falls! ►► https://goo.gl/Yd2fEf Subscribe for More Awesome Theories! ►► http://bit.ly/1dI8VBH DEADPOOL is a beloved and familiar Marvel character. In fact, he brings to mind another self-aggrandizing American mercenary. That's right, Deadpool is eerily similar to the real-life author AND canon Marvel character, ERNEST HEMINGWAY! I'm aware that this sounds crazy, but in this episode, I will PROVE that Deadpool IS (maybe) Ernest Hemingway! MORE FILM THEORIES Deadpool WROTE Deadpool! ►► https://goo.gl/C6X1RF MOANA'S SECRET IDENTITY! ►► https://goo.gl/s8EeNe KONG's Secret Past! | Kong Skull Island ► https://goo.gl/WdJy9B Frozen: Elsa's True Fight For The Throne ► http://bit.ly/2nBvflf How To KILL DEADPOOL! ►► http://bit.ly/2p288nn Rick's True CRIME! | Rick and Morty ►► https://goo.gl/3F4lza Batman's DEADLY Disease! ►► https://goo.gl/asmd3m Like the theme song and remix for this episode? Thanks to CARF! https://www.youtube.com/user/carfmobile SOCIAL MEDIA: Twitter: @MatPatGT Facebook: facebook.com/GameTheorists Instagram: instagram.com/matpatgt
Views: 4417279 The Film Theorists
David Foster Wallace - The Problem with Irony
Please consider supporting my videos on Patreon: https://www.patreon.com/willschoder _____________________________ ► NEWSLETTER: http://bit.ly/2dDYX9W ► TWITTER: http://www.twitter.com/willschoder ► INSTAGRAM: https://www.instagram.com/willschoder/ ► FACEBOOK: https://www.facebook.com/notchrispratt ► PATREON: http://www.patreon.com/willschoder ----------------------------------------------- FURTHER READING (please consider using these links if you'd like to purchase these books. It helps the channel). ----------------------------------------------- "Infinite Jest" by David Foster Wallace (http://amzn.to/2mf9XdY) "A Supposedly Fun Thing I'll Never Do Again" by David Foster Wallace (http://amzn.to/2DeHoFF) _____________________________ $BTC: 1ErAEodq48vMSwadBMQz5ns73GLvycstKR $ETH: 0x50C85C004bfEA8e0815552046c036Cbdd3361Ef4 $LTC: LKVhyYgGDaKCV27yxdiEsC7sF5mFtapf99 _____________________________ MUSIC: "Thoughtful" by Lee Rosevere "Waning Patience" by Dexter Britain "The Time to Run (Finale)" by Dexter Britain "A Closing Statement" by Dexter Britain "Having Run" by Dexter Britain _____________________________ Italian Subtitles by Daniele Campisano
Views: 1171797 Will Schoder
16. Hemingway -- For Whom the Bell Tolls
Hemingway, Fitzgerald, Faulkner (AMST 246) Professor Wai Chee Dimock begins her discussion of Hemingway's For Whom the Bell Tolls with an overview of the Spanish Civil War, the historical event at the heart of the novel. She introduces the notion of an "involuntary foreigner" to discuss the fate of Hemingway's American protagonist Robert Jordan, as well as the Spanish guerillas who are turned into "aliens" within their own country due to their print and technological illiteracies. Professor Dimock concludes by connecting one's status as an involuntary foreigner to the shape of the future, arguing that these characters have a tenuous claim to a Spain dominated by the Fascists, and to a modernity increasingly dominated by technology. 00:00 - Chapter 1. Donne's "For Whom the Bell Tolls" 02:31 - Chapter 2. Historical Context of the Spanish Civil War 05:44 - Chapter 3. Low Tech and High Tech War in Robert Capa's Photographs 11:41 - Chapter 4. Voluntary versus Involuntary Associations 15:35 - Chapter 5. Seven Fold Permutation in For Whom the Bell Tolls: Involuntary Foreigners 18:40 - Chapter 6. Linguistic Alienation for Involuntary Foreigners 25:35 - Chapter 7. Robert Jordan's Place in the Community as an Involuntary Foreigner 31:40 - Chapter 8. Print Illiteracy and Literacy for Involuntary Foreigners 36:02 - Chapter 9. Technological Illiteracy for Involuntary Foreigners 44:55 - Chapter 10. The Tomorrow of the Spanish Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.
Views: 15845 YaleCourses
Why BAD Films Are Better Than You Think (feat. The Room, Sharknado, Troll 2) – Wisecrack Vlog
Go to https://expressvpn.com/wisecrack to take back your Internet privacy TODAY and find out how you can get 3 months FREE! Thanks to Express VPN for sponsoring this episode! Subscribe to Wisecrack! ► http://wscrk.com/SbscrbWC Join Our Discord Chat and get access to EXCLUSIVE content on WisecrackPLUS ► http://wscrk.com/YtWcPls Why do we love bad films? Is it just for the sake of irony to watch The Room for your 50th time? In this Wisecrack Edition, we dive into why films can be so bad they're good, and what that means for society. === Watch More Episodes! === Big Mouth VLOG ► https://wscrk.com/2OnuYB7 Memification of Actors ► https://wscrk.com/2ukigtr BANKSY Deep or Dumb? ► https://wscrk.com/2OdhA29 The Philosophy of BILLIONS ► https://wscrk.com/2TSd6mM PROMETHEUS and ALIEN COVENANT: Deep or Dumb? ► https://wscrk.com/2Hie8ly Why FYRE Was Never Real ► https://wscrk.com/2tIRkDF Why Our Horror Movies Are Different Now ► https://wscrk.com/2BRqRbq Store ........... http://wisecrackstore.com Twitter ......... https://twitter.com/wisecrack Facebook .... https://facebook.com/wisecrackedu Written by: Amanda Scherker Directed by: Elizabeth Yarwood Hosted by: Jared Bauer Edited by: Mark Potts Produced by: Emily Dunbar © 2019 Wisecrack, Inc.
Views: 248099 Wisecrack
Literary vs. Genre Fiction
Literary vs. genre fiction, mainstream vs. commercial, realism vs. escapism—do these distinctions really matter? For both readers and writers, this long-standing debate has created a divide in the book world. In this video, I’ll explain the key differences between the two classifications in terms of purpose, plot scale, and writing style. My Professional Editing Services: https://www.quotidianwriter.com Twitter: https://twitter.com/QuotidianWriter Neil Gaiman and Kazuo Ishiguro Interview: https://www.newstatesman.com/2015/05/neil-gaiman-kazuo-ishiguro-interview-literature-genre-machines-can-toil-they-can-t-imagine Lev Grossman Blog Post: http://entertainment.time.com/2012/05/23/genre-fiction-is-disruptive-technology/ Title and End Music: “Clockwork” by Vindsvept - https://www.youtube.com/watch?v=9Zl4EGLoiI8 Background Music: “The Artist’s Hand” by Jonny Easton - https://www.youtube.com/watch?v=VULQIWoPqgI “The Little Things” by Jonny Easton: https://www.youtube.com/watch?v=cfr4_KQBaRg “Drops” by Whitesand - https://www.youtube.com/watch?v=_hSyRMyqFOM
Views: 14431 Diane Callahan
Luca Giordano: A collection of 125 paintings (HD)
Luca Giordano: A collection of 125 paintings (HD) Description: "Luca Giordano was born in Naples in 1634, the son of Antonio Giordano, an undistinguished follower of Jusepe de Ribera (1591-1652). Exhibiting a precocious talent for painting, the young Luca is said by the biographer De' Dominici to have entered Ribera's school at the early age of seven or eight. This direct training is not otherwise documented, yet the intensity of Giordano's early imitation and interpretation of Ribera's style is undeniable. Shortly after 1650, Giordano, accompanied by his father, traveled to Rome, Florence, and Venice. In Rome the young man studied and drew after the works of Raphael and other High Renaissance masters. He certainly knew Pietro da Cortona's works in Rome and Florence, and may even have studied with the older master. In Venice, Giordano received his first known commissions for altarpieces and turned in earnest to the Venetian Cinquecento painters whose importance had already been made clear to him by the neo-venetianism then current in Rome and Naples and by paintings, especially those of Peter Paul Rubens (1577-1640), in Neapolitan collections. Giordano is documented back in Naples in 1653. His works of the next ten years show a careful assimilation of the lessons learned on his trip, with conscious reference to the various stages of Ribera's career. A growing circle of patrons warmly accepted Giordano's evolving style, although the painter Francesco di Maria (1623-1690) was harshly critical of the younger painter's intense colorism. Giordano made a second trip north in 1665. In Rome and Florence he returned with renewed interest to the works of Pietro da Cortona; in Venice he resumed his study of the Cinquecento masters. He also expanded his contacts with Venetian patrons and sent many works to Venice and northern Italy in subsequent years. Aside from a possible but undocumented trip to Venice in 1672-1673, Giordano remained in Naples or nearby during the next fifteen years, which are among the least documented of his career. Giordano's openness to diverse artistic currents has long been recognized, and his ability to change his manner to fit a given subject or the desires of his patrons makes it difficult to plot a linear course for his stylistic development at this or any other moment in his life. Indeed, De' Dominici recounted that Giordano often executed paintings expressly "in the manner of" a given artist, either to satisfy the wishes of his patrons or as outright forgeries. Giordano also worked with great speed, producing a vast oeuvre in which few works are dated or documented. In 1680-1685 Giordano was again in Florence to execute two large decorative commissions, the dome of the Corsini Chapel in the Church of the Carmine and the gallery and library frescoes in the Palazzo Medici-Riccardi. The Florentine frescoes and the many easel paintings executed in the 1680s show Giordano's continued interaction with the stylistic currents of the day, as required by subject matter, patrons, and his own artistic aims. In 1692 Giordano accepted the invitation of Charles II of Spain to the court in Madrid, where the painter was regally received and showered with honors. The large surfaces to be decorated allowed Giordano to develop his increasingly free and painterly fresco style, as seen in the evolution from the staircase and nave frescoes at the Escorial (1692-1694) to the Casón del Buen Retiro in Madrid (1697). After the death of Charles II in 1700, Giordano worked mostly for private patrons until returning to Naples in 1702. His last frescoes in the Cappella del Tesoro in the Certosa di San Martino (1704) take the lyrical freedom of the Spanish frescoes to new heights. The late frescoes and easel paintings are generally seen as prefiguring and inspiring the light, decorative style of the early eighteenth century. De' Dominici reported that Giordano had numerous students, whom he treated very well; of these, none achieved real importance. Giordano died in Naples in 1705." --- MUSIC: Kevin MacLeod - Meditation Impromptu 02 Meditation Impromptu 02 by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100162 Artist: http://incompetech.com/ Facebook: https://www.facebook.com/LearnFromMasters/ Google+: https://plus.google.com/+LearnFromMasters Contact: [email protected] SUPPORT MY WORK AT: https://www.patreon.com/LearnFromMasters LIST OF ARTISTS already posted on LearnFromMasters: https://goo.gl/hri4HE --- Thank you so much for your support!
Views: 1234 LearnFromMasters
History of English literature [Hindi] A portrait of the artist as a young man
Join My Free group 👈👈👈 Follow this link to join my WhatsApp group: https://chat.whatsapp.com/FNSoK4SOs1bFEPELbeunYq History of English literature [Hindi] A portrait of the artist as
Bitters and Other Natural Remedies
"Bitters and Other Natural Remedies" is a stylistic and experimental featurette inspired by the Aesop fable "The Scorpion and the Frog," and the works of Jan Svankmajer. This visceral puzzle takes the viewer on a journey through a young man's trial to learn what alignments of nature becomes his final truth. The movie design is threaded together by a stop-motion animated scorpion made from wooden matches (in the end, he meets the paper frog and fulfills his destiny), crossing the paths of two diametrically opposed souls locked in parallel as he travels to some seemingly important destination that only death himself appears to be aware of. The unique supernatural position of the scorpion gives us insight into the inner nature of each character as he passes them, using visual devices like a multi-divided screen, and non-linear storytelling. The inevitable outcome brings to light the truth that is in us all; we do what we do because it's simply our nature. If you like movies that have you at the edge of your seat, both mentally and physically, this movie was made for you. Indulge your cerebral movie predilection and thanks for taking the time. On the set
Views: 393 tracy crockett
The Ancient City of Tyre
This symposium explores on the ancient city of Tyre, founded in 2750 B.C. by the Phoenicians, who created an alphabet and the first democracy in the world with a parliament and senate elected directly by the citizens. Tyre is the legendary birthplace of Europa, the daughter of the King of Tyre, the namesake of Europe. The city and the civilization was left in ruins by Alexander the Great who went to war against the Tyreans. For transcript and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7191
Views: 3105 LibraryOfCongress
Roland Trogan: "Nocturne no. 4" from "Five Nocturnes" (1968)
Composer: Roland Trogan Pianist: Richard Woitach http://patriceeditions.com/index.htm Roland Trogan (b. Saginaw, Michigan) composer, teacher, author. A musical prodigy, Trogan performed classical piano music as a teenager on WKNX Radio in Saginaw 1947-50, before beginning formal training in composition at the University of Michigan (B. Mus. 1954, M. Mus. 1955, DMA 1963), where he studied with Ross Lee Finney, Luigi Dallapiccola, and Leslie Bassett. His compositional work during this time was recognized by awards from BMI and the Louisville Symphony, which performed Trogan's Two Scenes for Orchestra in 1955. A Fulbright Scholarship for study in Rome was rescinded by the House Committee on Un-American Activities because of his signing a petition supporting the prominent Socialist, Norman Thomas. In addition to graduate fellowships in music theory and English, Trogan was engaged as Associate Conductor and Composer-in-Residence by the Saginaw Civic Symphony, under the Russian conductor Josef Cherniavsky. Trogan came to Cherniavsky's attention after learning of Trogan's new prize winning one-act opera, The Hat Man (1954), which was widely performed. In 1960, Trogan began studies with Roger Sessions in Princeton, NJ, and he divided his musical activities between Michigan and New York. In New York, he organized public concerts, lectures, and seminars featuring the most prominent personages and ensembles: the composers Henry Cowell and Wallingford Riegger, the Grand prix du disque-winning Kohon String Quartet, the violinist Max Polikoff, and the great violist Walter Trampler. After completing his doctoral thesis, the Concerto for Violin and Orchestra in 1963, Trogan relocated to Staten Island, NY, which marked the commencement of the apex his public musical career: his works gained performances in New York City's important concert venues, including Lincoln Center and Carnegie Hall; recordings of his music were widely broadcast; interviews of the composer were frequent on both TV and international radio; and premiers of his piano music were presented by Paul Jacobs and Metropolitan Opera conductor Richard Woitach, and his Sonata for Unaccompanied Violin was performed by Harold Kohon at Town Hall. Further, Trogan taught for several years for the University of the City of New York, and privately for a large number of prominent individuals and families in the fields of music, diplomacy, theater, and finance, including the families of violinist Isaac Stern, actor Richard Burton, the American ambassador to France, Felix Rohatyn, Christopher Plummer, Kuwaiti Ambassador Shammas, Sarasota Opera Company director Victor DeRenzi, and New York City Opera conductor Julius Rudel, among others. His compositions of this period--the Seafarer Cantata, Five Nocturnes for Piano, the first Piano Sonata--reflect Trogan's success in finding a uniquely personal and passionate stylistic voice, marked by a convincing integration of, among other things, the tolling of bells and diverse quotations. This highly emotional music marks both the climax and the beginning of a hiatus in Trogan's compositional career, an interregnum that would last for a quarter century, provoked by a profound disappointment arising from his witnessing the opportunism and egomaniacal behavior of many prominent and publicly respected musicians. During this period of creative abstinence, Trogan turned his attention to his family and to the founding of a highly successful music school on Staten Island in 1975, which he continues to direct to this day. Although he adopted a lower public musical profile, he continued to be recognized with three grants from the Academy of Arts & Letters. In 1997, Trogan's second compositional period began with the creation of much piano music, a Chamber Symphony, and the Más ficciones [por Jorge Luis Borges] for unaccompanied violin: he continues to compose new works. In 2004, he founded Patrice Editions, L.L.C., a company devoted to recording and publishing fine contemporary music. Trogan has written a unique book, The Circle and the Diamond—The Odyssey of Music, in which he proposes fundamentally new procedures for the analysis of music as well as provocative ways of understanding Western music in relation to the changing temporal perspectives in European civilization.
Views: 583 chitarralarmonico
The Lost Generation draft movie
Abby, David, and Darby movie draft Transcript for minute 4:24 on: The lost generation is classified as “the generation of men and women who came of age during or immediately following World War I: viewed, as a result of their war experiences and the social upheaval of the time, as cynical, disillusioned, and without cultural or emotional stability.” (“Lost”). As David has previously mentioned two very famous writers that have come from this time period of writing are Hemingway and Fitzgerald. What makes the lost generation of writers is their similar stylistic techniques. All the writers of the group had one goal in mind; to let the readers work to figure out the meaning of the passages. Hemingway and Fitzgerald both used many literally devices to gives clues to the reader as what the passage may be symbolic of. Fitzgerald uses long extended metaphors in his most famous pieces of literature which include; The Great Gatsby, This Side of Paradise, and Tender is the Night. Hemingway also follows the pattern of the writers of the Lost Generation such in his book, The Old Man and the Sea. He embeds deep clues into his writings so the reader is required to “read in between the lines.” (“We”). Ideas in the books of famous authors were another way the authors were grouped into the lost generation. In an interview with Kirk Curnutt, an author who has published many books about the lost generation, writes that some main ideas written in books from the time period were,“alienation, unstable mores (drinking), divorce, sex, and different varieties of unconventional identities (gender-bending, for example). There was very little interest in writing about “others.” And they weren’t particularly gracious to people who weren’t like them. There is a lot of satire in lost generation fiction, and most of it makes fun of elders or figures of authority—and, unfortunately, Jews. Perhaps the truly contradictory thing is that these writers wanted it both ways. They wanted to write about breaking boundaries, but they also wanted to reserve the right to lament their “falling away” from norms and standards.” (Curnutt). The lost generation gifted America with many great novels and many people still study and learn from the stylistic and literally techniques used by many gifted authors from the lost generation. Thank You!
Views: 178 Darby Peters
The story is familiar: Man uses his large, complex brain to invent stone tools. Man uses stone tools to aggressively hunt large wild animals. Man, being an exemplary mate, brings meat to his mate and their offspring. Man's mate is passive: she remains at a home base, watching the offspring, while Man directs humanity's evolution. The collective consciousness surrounding paleoanthropology is rife with Stone Age reconstructivist fantasies like this one, that reify modern Western interpretations of familiar heteronormative gender roles. The Paleolithic, a nebulous period stretching from the first stone tools until the development of agriculture, is so susceptible to such fantasies, that the typical narrative describing it seems ordinary in its familiarity. Yet, this narrative is a strange palimpsest of paleoanthropologists' personal experiences of perceived gender roles superimposed on great ape and historically contingent hunter-gatherer evidence used to model the evolution of human gendered behavior. Can we improve our interpretations by bringing in careful and thoughtful analyses of archaeological and biological evidence? We have a half century's refinement in concepts of gender, labor divisions, and standpoint theory with which to address this issue. In this panel, we will advance beyond the “add women and stir approach” to thinking about gender during deep prehistory in a way that highlights its possible strangeness from modern experiences. The authors will explore how gender and sex are identified in the fossil and archaeological records, how gender roles are interpreted from this evidence, and what this means for the representation of men and women in the Paleolithic. By emphasizing our relative unfamiliarity with the gender roles of the past, we will reveal the strangeness of the familiar, male-centric Paleolithic narrative and seek a more holistic vision of gender in the past.
Roman History: Titus Livius (Livy) [Lecture]
Dan Attrell (MA) gives a brief lecture on the 'Ab Urbe Condita Libri' of the great Roman historian Titus Livius. Here is the copy of the Aeneid I use most: Vergil's Aeneid, Books I-VI (Latin Edition) - http://amzn.to/1oI9eC0 Bibliography Allen, Archibald W. “Livy as Literature.” Classical Philology, Vol. 51, No. 4 (1956): 251-254. Begbie, Cynthia. “The Epitome of Livy.” The Classical Quarterly, New Series, Vol. 17, No. 2 (1967): 332-338. Brunt, P. A. “On Historical Fragments and Epitomes.” The Classical Quarterly, New Series, Vol. 30, No. 2 (1980): 477-494. Briscoe, John, (Ed.) Simon Hornblower and Antony Spawforth. “Livy.” The Oxford Companion to Classical Civilization. Oxford University Press, 1998. Oxford Reference Online. Oxford University Press. Accessed 24 February 2011 http://www.oxfordreference.com.subzer... Canter, H. V. “Livy the Orator.” The Classical Journal, Vol. 9, No. 1 (1913): 24-34. Gary Forsythe, Livy and Early Rome: A Study in Historical Method and Judgement. Franz Steiner Verlag Wiesbaden GmbH (1999). Howatson, M.C. and Ian Chilvers (Ed.). “Livy.” The Concise Oxford Companion to Classical Literature. Oxford University Press, 1996. Oxford Reference Online. Oxford University Press. Accessed 24 February 2011, http://www.oxfordreference.com.subzer... Roberts, John (Ed.). “Livy.” Oxford Dictionary of the Classical World. Oxford University Press, 2007. Oxford Reference Online. Oxford University Press. Accessed 24 February 2011, http://www.oxfordreference.com.subzer... Liebeschuetz, W. “The Religious Position of Livy's History.” The Journal of Roman Studies, Vol. 57, No. 1/2 (1967): 45-55. McDonald, A. H. “The Style of Livy.” The Journal of Roman Studies, Vol. 47, No. 1/2 (1957): 155-172. Mellor, Ronald. The Roman Historians. Routledge: Taylor & Francis Group, (1999). Petersen, Hans. “Livy and Augustus.” Transactions and Proceedings of the American Philological Association, Vol. 92 (1961): 440-452. Steele, R. B. “The Historical Attitude of Livy.” The American Journal of Philology, Vol. 25, No. 1 (1904): 15-44. Walsh, P. G. “Livy's Preface and the Distortion of History.” The American Journal of Philology, Vol. 76, No. 4 (1955): 369-383. Walsh, P. G. “Livy and Stoicism.” The American Journal of Philology, Vol. 79, No. 4 (1958): 355-375.
"The Literary Scenes" by Gerald E. Moira & Frank L. Jenkins
Music: "Atardeciendo" composed and performed by Jose Maria Armenta G-P http://www.youtube.com/user/TAUCE67 King Henry V before Agincourt [Shakespeare] Merlin and Vivien [Tennyson] Much Ado about Nothing [Shakespeare] The Village Smithy [Longfellow] Ophelia [Shakespeare] Through Copse-Clad Valleys [Keats] The Lady of Shalott [Tennyson] St Agnes' Eve [Keats] The Brook [Tennyson] Isabella [Keats] Sir Bedivere, The Passing of Arthur [Tennyson] Sonnet [Christina Rossetti] The Staff and Scrip [ D.G. Rossetti] A Christmas Carol [Swinburne] Gather Ye Rosebuds While Ye May [Herrick] The low downs lean to the sea [Swinburne] The Palace of Art [Tennyson] Gerald E. Moira & Frank L. Jenkins -- Library's Panels in Bishop Burton Hall (Yorkshire): The seventeen bas-relief panels in coloured plaster were created in 1898 by the decorative artist Gerald Moira (1867-1959) and the sculptor Frank Lynn Jenkins (1870-1929). These panels, were originally commissioned by Ernest Hall Watt for the library of his house at Bishop Burton near Beverley. The house was designed by the architect G. F. Unsworth, who had previously collaborated with Moira, and it was evidently at his suggestion that Hall Watt invited Moira and Jenkins to undertake the decoration of the library. Bas-relief panels such as these were particularly popular as a form of interior in both public buildings and private homes during the late Nineteenth century. Artists such as Robert Anning Bell, Walter Crane, and George Frampton all worked in this medium and they quickly established the bas-relief panel in coloured plaster, a sophisticated form of decorative art in both Britain and France. The most successful results, however, were achieved by the partnership of Moira and Lynn Jenkins who executed several important commissions in this medium. In each of these it was Moira who established the general design of the works and who made the preparatory drawings. These were then passed to Jenkins who translated them into three-dimensional clay models from which the plaster panels were cast. Moira then painted and decorated the panels in oils and metallic paints. The series was carefully designed not only to decorate the room for which they were originally commissioned but also to complement its function as a library. Harold Watkins in his monograph on Gerald Moira (London, 1922) comments of this particular commission "so sombre were the surroundings (of the room) that some special mode of treatment had to be invented to provide in this frieze the set-off to the environing profundity that was desirable". Moira overcame the gloom and provided the required effect of living, luxurious colour by first treating the decoration with gold and silver and then painting with thin stain colours over this base. The result exceeded expectations and the effect of the frieze was almost an illumination, vivifying and beautifying the whole room" The stylistic features of the panels which include stylised forms, sinuous and flowing contours, and a tendency towards flat abstract patterning betray Moira's love of the Art Nouveau style which was then considered both aesthetic and very modern. The literary scenes which the panels depict reflected Hall Watt's literary sensibility. Writers such as Shakespeare, Longfellow, Tennyson, Keats, Swinburne and the Rossettis, from whose works the scenes are drawn, were much appreciated by the Pre-Raphaelite painters and subsequently by 'cultured' Victorians such as Hall Watt. In this respect, Moira was an ideal artist to call upon for the execution of this particular commission since he entertained the same literary enthusiasms and was influenced by Rossetti and the second generation of Pre-Raphaelite painters such a Burne-Jones.
Views: 662 Jane Burden Morris
I/O BootCamp 2011: Getting Started with HTML5
Speakers: Ernest Delgado, Pete LePage HTML5 is more than just a pretty logo; it's a solid foundation upon which you can build web apps that meet or exceed user expectations for native apps. Here, we'll detail key features such as CSS3, graphics, offline, storage and more in Chrome and other modern browsers. We'll walk you step-by-step through new and exciting APIs you'll need to construct your own cutting-edge web applications.
Views: 9199 Google Developers
"People come to me when their hearts are broken in love and passion...But who do I turn to when my heart is hurt? Shall I sing a song, or recite a poem for you Sir?" This GHAZAL is SAD from the FILMI MUGHAL FATEFUL CULTURE of NORTHERN INDIA, but also BITINGLY REMINISCENT of the DISASTEROUS LIFE that ACTOR SANJAY DUTT [b.1951] would LIVE. DUTT is IMMORTALISED as a BEAUTIFUL YOUNG MAN, but like AMERICAN STAR: LIZA MINELLI [b.1946] and her famous ACTRESS MOTHER: JUDY GARLAND [1922-1969], SANJAY had a FAMOUS MOTHER, ACTRESS: NARGIS [1929-1981]. Both LIZA and SANJAY grew up in UNSTABLE FAMILIES, LIVING in the SHADOW of FAMOUS PARENT, both DRUG ADDICTS and ALCOHOLICS. Two FRAGILE TROUBLED people, 'shattered and broken' like in the words of the GHAZAL. Nationalistic Indian Cinema in the great days before the birth of bland Globalised 'Bollywood' can be witnessed in this MUJRA [entertainment dance dating from North Indian Mughal Courts] from 'Rocky' 1980. 'Pyar Men Mohabbat Men' is sung by playback singer Asha Bhonsle on the face and dance routine of actress Reena Roy. MUJRA is shown in this song as it existed for centuries in the Northern Subcontinent. Courtesans would wear this flared skirt with trousers beneath with heavy make up and jewellery. They would offer comfort to men mostly through song, not necessarily prostitution. The dance KATHAK is stylistically marked by bells on the ankles and foot stamping to the TABLA [Indian floor drums tuned (I)* & (V)**]. Spinning to flare the skirt and possibly enact aspects of SUFISM [a mystical way of religion - spinning to 'lose oneself and become energy' is a concept of SUFIS]. These courtesans, like Japanese Geisha, are Custodians of the Culture. They often keep ancient dances, poetry, music forms and instruments alive. ORCHESTRATION FORM [sections over time] is Western Pop Song: Intro 01 [VARIATION of chorus] + Intro 02 ALAAP [passage sung on vowels - this is done to add more GHAZAL effect] + Chorus (I)* + Bridge 01 with SITAR [Indian lute] + Verse (V)** + Chorus (I)* + Bridge 02 solo VIOLIN + Verse (V)** + Chorus (I)* + CODA* [end section][TABLA fill then chorus repeat]. * TONIC 'home' 'doh'/'sa' melody note area ** DOMINANT fifth 'soh'/'pa' melody note area The lyrics are set like a GHAZAL [short lyrical poem in couplets - typical of MUJRA]. But this is done for effect as the FORM and ORCHESTRATION are heavily Western to fit the cinema media. The PLAYBACK SINGER [a singer who records a track for an actor to mime to] voice has been heavily altered with electronic effect. The voice is mixed with a thick REVERB [electronic echo] as two tracks. So Asha's voice can be heard 'flat' to get the pronunciation of words but the REVERB track is shrouding the back end of the voice with heavy echo. The ALAAP is almost DOUBLE-TRACKED and the decision for REVERB + VOICE TRACK DOUBLING must have been made for TONE MASS [thicker tone]. In conclusion, on close analysis the vocal is very unnatural and could not be performed live so well. The ENSEMBLE [group of instruments/vocalists] is large. PERCUSSION [instruments you hit] are TABLA which offer a COUNTERPOINT [independent rhythm and low melody on (I)* & (V)**]. 15+ Western Violins play contrasting sections during intro and bridges, plus playing the melody or accompanying long notes LAYERED [played simultenously as the singer for variety on a repeat but not HARMONY]. The strings also have heavy REVERB for TONE MASS and dramatic effect. A solo violin is used as contrast. The SITAR adds the MUJRA 'effect' and variety. Some use of traditional wood flutes mixed with strings gives a 'Mughal' touch. A VIBRAPHONE [metallic xylophone with electronic REVERB] plays to add 'mysterious' sound. SANTOOR [strings over a box] play some scales and DOUBLE the SITAR for variety. GHUNGROOS [ankle bells] add MUJRA effect and add top REGISTERS [high pitches] to the mix of middle REGISTER ENSEMBLE. The ORCHESTRATION is sophisticated. R.D. Burman had a way of blending Western Media with Indian song. However, some of this MUJRA seems to be PASTICHE [in the style of] with small touches of the Mughal Empire decorating this film song. The whole ORCHESTRATION is LAYERED. There are no chords as such, or HARMONY. The composition is LINEAR MONODIC [a tune composed from beginning to end as a line melody to be sung with drums and not chords or bass line]. VIDEO The video is iconic and unforgettable. Reena Roy and Sanjay Dutt are now elderly people. Here they both looked the best they ever did. Reena looks so theatrical and earnest in the role. Sanjay is fresh and young in his first film with an understanding of heartache and youth. It is strange to see these beautiful Hindi songs as Indian Cinema today seems unable to produce songs, singers, dances, picturisations or actors with the quality of 'Rocky' yet it was only 30 years ago? Where has the talent gone?
Views: 390328 Khaartoum East
Scott Bradlee: "Outside the Jukebox" | Talks at Google
Scott Bradlee, founder of the electrifying band Postmodern Jukebox, visits Google Los Angeles for an entertaining discussion about his new book Outside the Jukebox: How I Turned My Vintage Music Obsession into My Dream Gig. Scott’s bonafide rags-to-riches story of how he managed to go from hand-to-mouth living in NYC to building a YouTube music phenomenon is nothing short of inspirational. Scott discusses his quirky, challenging and hilarious experiences along the path that began with a YouTube video shot in his bare-bones NYC apartment (with an audience of one subscriber) and grew into a top-notch music collective and international sensation, with a YouTube subscriber base of 3.4 million, who have performed more than 400 live shows worldwide. Scott Bradlee is interviewed by Anna Santos, Strategic Partner Manager for Google Play, fan of Postmodern Jukebox and lover of all things vintage. The interview is interspersed by musical performances by Scott and vocalist Sara Niemietz, which cannot be included in this recording, but please visit Postmodern Jukebox’s YouTube channel to enjoy their music (https://www.youtube.com/user/ScottBradleeLovesYa) Moderated by Anna Santos.
Views: 3006 Talks at Google
Stephen Crane "In the Desert" Poem animation
Heres a virtual movie of the celebrated American author and poet Stephen Crane reading his exquisite bittersweet little poem "In the Desert"First Published May 11, 1895 in his volume of poems "The Black Riders & Other Lines" The poems tone, along with its syntax, is quite blatant, as is its subject. This total integration of sound, subject and structure is what makes this poem so shockingly indifferent, and beautiful. With just a couple of words and lines, Crane is able to establish an emotion and idea within the readers mind, even though it may be subconscious. Using words like, desert, naked, bestial, two lines in, the poem establishes an astringent tone. The use of the word squatting only adds to the inhuman image of this creature in the desert. Then comes the shocking, but calmly toned line concerning the eating of his own heart. Then in the sixth line we have the narrator asking the creature "is it good, friend", asking as if he is just another fellow human. Now this sixth line is pivotal due to the fact that the narrator calls this bestial looking creature 'friend', for we get a sense of the narrator's indifferent reaction to the sight of the self-deprecating creature. This phrase establishes a lost humanity within the creature, as if he has lost his own human nature, but still has enough of it to be recognizable. Then come the final four lines which act as a big payoff, though no different in tone than the previous lines. The creature states that it is "bitter—bitter", and then in an almost innocent and childlike way he says "but I like it,/because it is bitter/and because it is my heart", there ending the poem. Now the two most important metaphors in the poem are; the desert and the eating of one's own heart. The desert being a (ironically) cold, bitter place, where human life and vegetation are nonexistent and is completely lacking in water (water being a symbol of hope in The Waste Land). And just as the desert is bitter, so is his heart, his emotions, which he has come to digest and accept. Thus in accepting his life's own absurdity, he gets used to it, and even begins to like its taste. The eating of his own heart in the desert can be interpreted as him burying his own sentimental emotions which are blinding him of the real world, and digesting the absurdity of his own place and his own surroundings, which is the bitter and indifferent desert. And in doing so, he becomes naked, he begins to appear primitive, as one of the early hominids before civilization, when they were forced to face the wild. What this creature is doing, is an act that Crane is asking us all to carry out; acceptance. Stephen Crane (November 1, 1871 -- June 5, 1900) was an American novelist, short story writer, poet and journalist. Prolific throughout his short life, he wrote notable works in the Realist tradition as well as early examples of American Naturalism and Impressionism. He is recognized by modern critics as one of the most innovative writers of his generation. Plagued by financial difficulties and ill health, Crane died of tuberculosis in a Black Forest sanatorium at the age of 28. At the time of his death, Crane had become an important figure in American literature. He was nearly forgotten, however, until two decades later when critics revived interest in his life and work. Stylistically, Crane's writing is characterized by vivid intensity, distinctive dialects, and irony. Common themes involve fear, spiritual crises and social isolation. Although recognized primarily for The Red Badge of Courage, which has become an American classic, Crane is also known for short stories such as "The Open Boat", "The Blue Hotel", "The Bride Comes to Yellow Sky", and The Monster. His writing made a deep impression on 20th century writers, most prominent among them Ernest Hemingway, and is thought to have inspired the Modernists and the Imagists. Kind Regards Jim Clark All rights are reserved on this video recording copyright Jim Clark 2011 In the desert.............. In the desert I saw a creature, naked, bestial, who, squatting upon the ground, Held his heart in his hands, And ate of it. I said, "Is it good, friend?" "It is bitter, bitter," he answered; "But I like it Because it is bitter, And because it is my heart."
Views: 11042 poetryreincarnations
Laid - Punch Up (Frankie Feliciano Original Edit) (2005)
Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s.[2][3][4][5] The first recorded use of the word techno in reference to a specific genre of music was in 1988.[6][7] Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of sub-genres have been built. In Detroit, techno resulted from the melding of African American music including Chicago house, funk, electro, and electric jazz with electronic music by artists such as Kraftwerk, Giorgio Moroder, Ryan Heayns, Liam Todd, Tom MaccySACK and Yellow Magic Orchestra.[9] Added to this is the influence of futuristic and fictional themes[10] relevant to life in American late capitalist society, with Alvin Toffler's book The Third Wave being a notable point of reference.[Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as Afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality.[13][14] In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness". Stylistically, techno is generally repetitive instrumental music, often produced for use in a continuous DJ set. The central rhythmic component is most often in common time (4/4), where time is marked with a bass drum on each quarter note pulse, a backbeat played by snare or clap on the second and fourth pulses of the bar, and an open hi-hat sounding every second eighth note. The tempo tends to vary between approximately 120 to 150 beats per minute (bpm), depending on the style of techno. The creative use of music production technology, such as drum machines, synthesizers, and digital audio workstations, is viewed as an important aspect of the music's aesthetic. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance Hardtechno refers to a harder and darker style of Techno music, which evolved after 2000. While the first harder Techno productions appeared around 1991 on labels such as PCP and Industrial Strength, these were referred to as Hardcore Techno. Over the years, the Hardcore scene cultivated a new sound far away from its Techno origins, whereas Techno itself went in a softer direction. At the end of the 1990s, fueled by the Schranz movement, a new, extremely hard style of Techno became popular, which is now generally referred to as Hardtechno. This style runs at very high tempos, usually around 160 bpm and features heavy distortion and prominent kickdrums.
Views: 846 Remember Music
Kenny Davern part 1 Interview by Dr. Michael Woods - 9/23/1995 - Clinton, NY
Kenny Davern talks about achieving his own clarinet sound, the state of the music business, and being a band leader. Use of these materials by other parties is subject to the fair use doctrine in United States copyright law (Title 17, Chapter 1, para. 107) which allows use for commentary, criticism, news reporting, research, teaching or scholarship without requiring permission from the rights holder. Any use that does not fall within fair use must be cleared with the rights holder. For assistance, please contact the Fillius Jazz Archive, Hamilton College, 198 College Hill Road, Clinton, NY 13323. Visit the Fillius Jazz Archive Website https://jazzarchive.hamilton.edu
My Voice by Oscar Wilde
Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses aesthetic and rhythmic[1][2][3] qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively-informative, prosaic forms of writing. From the mid-20th century, poetry has sometimes been more generally regarded as a fundamental creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile and metonymy[4] create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm. Some poetry types are specific to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as written in lines based on rhyme and regular meter; there are, however, traditions, such as Biblical poetry, that use other means to create rhythm and euphony. Much modern poetry reflects a critique of poetic tradition,[5] playing with and testing, among other things, the principle of euphony itself, sometimes altogether forgoing rhyme or set rhythm.[6][7] In today's increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages.
Views: 101 agelesspoetry
How the Unrest in Charlotte Could Sway the 2016 Election (With All Due Respect - 09/22/16)
The shooting of Keith Lamont Scott this week by police outside a Charlotte apartment complex has sparked two nights of violent protests. Will the rioting sway a deadlocked presidential race in North Carolina towards Republican Donald Trump, who has declared himself the 'law and order' candidate? We'll cover that (and more) tonight on 'With All Due Respect.' Read more on Bloomberg.com: http://bloom.bg/2d3HMwf Like this video? Subscribe to Bloomberg Politics on YouTube: https://www.youtube.com/c/BloombergPolitics?sub_confirmation=1 And subscribe to Bloomberg on YouTube for the latest business news: http://www.youtube.com/Bloomberg?sub_confirmation=1 Bloomberg Politics is the destination for smart, non-partisan political coverage, offering breaking news and analysis, exclusive interviews, videos from the campaign trail, and more: http://www.bloomberg.com/politics/ ‘With All Due Respect’ with Mark Halperin and John Heilemann airs every weeknight from 5 – 6 pm ET on Bloomberg Television: http://www.bloomberg.com/live Connect with us on... Twitter: https://twitter.com/bpolitics/ Facebook: https://www.facebook.com/BloombergPolitics/ Instagram: https://www.instagram.com/bpolitics/
Views: 8527 Bloomberg Politics
Bacon as an Essayist
CHECK PRICE - http://ow.ly/ULvP30jE9sI Studybay is an academic writing service for students: essays, term papers, dissertations and much more! We’re trusted and chosen by many students all over the world! Order your paper directly from one of our 20000 writers. Get your paper without paying extra for agencies and afiliates, on Studybay! #Essay +++++++++++++++++++++++++++ Restaurant Review Essay Characterization Essay An Occurrence at Owl Creek Bridge Essay The Importance of Being Earnest Essay The Fall of the House of Usher Essay Black History Essay Old Man and the Sea Essay Energy Essay
An explanation of the literary techniques used in Scene One of A Streetcar Named Desire
An explanation of the key points of interest in Scene One of A Streetcar Named Desire.
Views: 1217 Francis Gilbert
To His Coy Mistress Analaysis | Summary, Themes & Structure of To His Coy Mistress
To His Coy Mistress Analaysis | Summary, Themes & Structure of To His Coy Mistress: "To His Coy Mistress" is a metaphysical poem written by the English author and politician Andrew Marvell (1621–1678) either during or just before the English Interregnum (1649–60). It was published posthumously in 1681. This poem is considered one of Marvell's finest and is possibly the best recognized carpe diem poem in English. Although the date of its composition is not known, it may have been written in the early 1650s. At that time, Marvell was serving as a tutor to the daughter of the retired commander of the New Model Army, Sir Thomas Fairfax. Synopsis: The speaker of the poem starts by addressing a woman who has been slow to respond to his romantic advances. In the first stanza he describes how he would love her if he were to be unencumbered by the constraints of a normal lifespan. He could spend centuries admiring each part of her body and her resistance to his advances (i.e., coyness) would not discourage him. In the second stanza, he laments how short human life is. Once life is over, the speaker contends, the opportunity to enjoy one another is gone, as no one embraces in death. In the last stanza, the speaker urges the woman to requite his efforts, and argues that in loving one another with passion they will both make the most of the brief time they have to live. Structure: The poem is written in iambic tetrameter and rhymes in couplets. The first verse stanza ("Had we...") is ten couplets long, the second ("But...") six, and the third ("Now therefore...") seven. The logical form of the poem runs: if... but... therefore.... Critical reception and themes: Until recently, "To His Coy Mistress" had been received by many as a poem that follows the traditional conventions of carpe diem love poetry. Some modern critics, however, argue Marvell's use of complex and ambiguous metaphors challenges the perceived notions of the poem. It as well raises suspicion of irony and deludes the reader with its inappropriate and jarring imagery. Some critics believe the poem is an ironic statement on sexual seduction. They reject the idea that Marvell's poem carries a serious and solemn mood. Rather, the poem's opening lines—"Had we but world enough, and time/ This coyness, Lady, were no crime"—seems to suggest quite a whimsical tone of regret. In the second part of the poem, there is a sudden transition into imagery that involves graves, marble vaults and worms. The narrator's use of such metaphors to depict a realistic and harsh death that awaits the lovers seems to be a way of shocking the lady into submission. As well, critics note the sense of urgency of the narrator in the poem's third section, especially the alarming comparison of the lovers to "amorous birds of prey". ..................................................... Support Me On Patreon: https://www.patreon.com/audiobooks ................................................................................. Sources: https://en.wikipedia.org/wiki/To_His_Coy_Mistress Background Music: Evgeny Teilor, https://www.jamendo.com/track/1176656/oceans The Lounge: http://www.bensound.com/royalty-free-music/jazz Images: www.pixabay.com www.openclipart.com .................................................................
Views: 6285 Free Audio Books
Faculty Forum Online, Alumni Edition: Music and the Brain
Alumni professors share their latest research into music’s intersections w/mathematics & cognitive science. Panelist lineup: Mara Breen PhD '07, Assistant Professor of Psychology and Education, Mt. Holyoke College Teresa Marrin Nakra SM '96, PhD '00, Associate Professor of Music, The College of New Jersey Robert Rowe PhD '91, Professor of Music and Music Education, Associate Dean of Research and Doctoral Studies, New York University Moderator: Wade Roush PhD '94, Outreach Officer, MIT Program in Science, Technology, and Society. Visit http://alum.mit.edu/learn for more information on future Faculty Forum Online, Alumni Edition productions.
Mod-03 Lec-17 The Romantics
English Language and Literature by Dr. Liza Das & Dr. Krishna Barua,Department of Humanities and Social Sciences,IIT Guwahati.For more details on NPTEL visit http://nptel.ac.in
Views: 1440 nptelhrd
Liesl Olson Lecture
Liesl Olson, the Paul Hague Distinguished Writer for 2019 lectures on the literary figures she examines in her book, "Chicago Renaissance."
Letters & Arts Speaker Series - Seth
Seth is arguably Canada's greatest living cartoonist, and has been called "one of the best narrative cartoonists in the world." His presentation describes his career and ongoing obsessions.
Views: 951 SLLSFanshawe
The Musicality of Sitting on a Rock, with Andrew Bishko
Today we have the distinct pleasure of interviewing one of our own team members at Musical U. But as you’re about to discover, despite his huge contributions at Musical U, this represents just one small part of a long and fascinating career as a musician, composer, author and music educator. http://musicalitypodcast.com/74 Andrew Bishko is our Content Editor and Product Manager at Musical U, which means he’s in charge of overseeing everything we publish and also the teaching material we continue to expand and improve inside Musical U itself. Andrew has performed and toured professionally in a number of bands, taught private instrument lessons, published a book and taught university courses in the US. He’s played a wide variety of instruments, from piano to accordion to flute and Native American flute to a recent new addition, the guitarrón. He’s played in styles as varied as classical, folk, reggae, jazz, Klezmer – and even a Pink Floyd tribute band. In this conversation you’ll discover: - How he went from classical Chopin recitals on piano to touring the world playing flute in a reggae band. - The one genre of music that resonated most deeply with him emotionally and caused him to focus on it for 15 years. - Why the best way to learn to improvise might involve being taught how to go sit on a rock. This one runs long! And that was with us being very self-controlled and not diving into any one of several topics along the way which we would have loved to pick Andrew’s brains on further. After 90 minutes we felt like we’d barely scratched the surface, and there are a ton of interesting and useful insights packed into this conversation for you. You’ll see why we consider it an honour and a privilege to have Andrew on the Musical U team. Listen to the episode: http://musicalitypodcast.com/74 Links and Resources HeartWinds World of Music: https://www.gigsalad.com/napasha_music-1430837666 Mariachi Flor de Missouri: https://www.facebook.com/mariachi.flor.de.missouri/ How to Sit on a Rock: https://www.facebook.com/How-to-Sit-on-a-Rock-165803753624255/ Napasha Music: http://www.napashamusic.com/ Klezmer Flute and Guitar (Belf’s Khosidl): https://www.youtube.com/watch?v=aIke8wzHoUM Take lessons with Andrew: http://www.napashamusic.com/contact.htm The Sound of Klezmer: https://www.musical-u.com/learn/what-makes-klezmer-sound-like-that-with-paul-green/ Let us know what you think! Email: [email protected] =============================================== Learn more about Musical U! Website: https://www.musical-u.com/ Podcast: http://musicalitypodcast.com Tone Deaf Test: http://tonedeaftest.com/ Musicality Checklist: https://www.musical-u.com/mcl-musicality-checklist Facebook: https://www.facebook.com/MusicalU Twitter: https://twitter.com/MusicalU YouTube: https://www.youtube.com/c/MusicalU Subscribe for more videos from Musical U!
Views: 27 Musical U
The Mass Effect Problem
After being away for 6 months we're back with a brand new video. In this one we dig into Mass Effect Andromeda's development history. And why it could prove worrying for Bioware's new game Anthem. LINKDUMP Twitter: https://twitter.com/game_courier Reddit: https://www.reddit.com/r/GameCourier/ Website: http://gamecourier.net Music by: Bioware & Kevin Macleod https://incompetech.com/ CREDIT Henk den Bakker
Views: 76 GC
IRELAND - WikiVidi Documentary
Ireland is an island in the North Atlantic. It is separated from Great Britain to its east by the North Channel, the Irish Sea, and St George's Channel. Ireland is the second-largest island of the British Isles, the third-largest in Europe, and the twentieth-largest on Earth. Politically, Ireland is divided between the Republic of Ireland , which covers five-sixths of the island, and Northern Ireland, which is part of the United Kingdom, in the northeast of the island. In 2011, the population of Ireland was about 6.4 million, ranking it the second-most populous island in Europe after Great Britain. Just under 4.6 million live in the Republic of Ireland and just over 1.8 million live in Northern Ireland. The island's geography comprises relatively low-lying mountains surrounding a central plain, with several navigable rivers extending inland. The island has lush vegetation, a product of its mild, but changeable climate which is free of extremes in temperature. Thick woodlands covered... http://www.wikividi.com ____________________________________ Shortcuts to chapters: 00:03:58: Name 00:04:14: Prehistoric Ireland 00:07:01: Emergence of Celtic Ireland 00:10:39: Late antiquity and early medieval times 00:15:17: Norman and English invasions 00:19:56: The Kingdom of Ireland 00:24:00: Union with Great Britain 00:30:41: Partition 00:31:38: Independence 00:34:43: Northern Ireland 00:39:34: Politics 00:40:01: Republic of Ireland 00:41:10: Northern Ireland 00:42:18: All-island institutions 00:44:09: Economy 00:44:52: Tourism 00:46:38: Energy 00:50:10: Geography 00:53:54: Climate 00:56:01: Flora and fauna 00:59:52: Impact of agriculture 01:02:09: Demographics 01:05:08: Divisions and settlements 01:07:25: Migration 01:09:40: Languages 01:13:53: Culture 01:15:57: Literature 01:19:01: Music 01:21:57: Art 01:22:36: Science 01:26:19: Sports 01:27:55: Field sports 01:32:34: Other sports 01:36:00: Recreation ____________________________________ Copyright WikiVidi. Licensed under Creative Commons. Wikipedia link: https://en.wikipedia.org/wiki/Ireland
white charity
mehr Informationen und Bestellung unter / more information and DVD order at: www.whitecharity.de Ein Film von Carolin Philipp & Timo Kiesel mit Animationen von Jana Döll und Interviews mit PD Dr. Aram Ziai, Politikwissenschaftler, Zentrum für Entwicklungsforschung, Bonn Danuta Sacher, ehemalige Leiterin Politik und Kampagnen, Brot für die Welt Dr. Grada Kilomba, Psychoanalytikerin und Autorin, Humboldt Universität, Berlin Prof. em. Dr. Klaus-Peter Köpping, Ethnologe, Universität Heidelberg Peggy Piesche, Literatur- und Kulturwissenschaftlerin, Hamilton College New York Philipp Khabo Köpsell, Dichter und Spoken Word Künstler, Berlin Sascha Decker, Pressesprecher Kindernothilfe Werbeplakate von entwicklungspolitischen Organisationen wie 'Brot für die Welt', 'Welthungerhilfe', 'Kindernothilfe' oder 'Care' sind auf Straßen, Plätzen, in Bahnhöfen und U-Bahnen in Deutschland allgegenwärtig. Sie haben einen großen Einfluss darauf wie in Deutschland Schwarze und weiße Identitäten konstruiert werden. Der Dokumentarfilm analysiert die Spendenplakate aus einer rassismuskritischen, postkolonialen Perspektive. 'white charity' stellt unterschiedliche Perspektiven vor: Ausgehend von den Spendenplakaten diskutieren Vertreter_innen von Hilfsorganisationen mit Wissenschaftler_innen über Entwicklungszusammenarbeit, koloniale Fantasien, Rassismus und Machtstrukturen. 'white charity' ist eine exemplarische Auseinandersetzung mit Rassismus in Bildern, die weit über den entwicklungspolitischen Horizont von Bedeutung ist und unterstützt einen schärferen Analyseblick auf Bilder in kommerzieller Werbung, Print und TV. Billboards of charitable organizations such as 'Brot für die Welt', 'Welthungerhilfe', 'Kindernothilfe' or 'Care' are omnipresent in streets, on squares, in train and metro stations in Germany. They have a large impact on how Black and white identities in Germany are constructed. The documentary analyses the charity ad posters applying a postcolonial perspective with particular attention to race. 'white charity' presents different perspectives: based on the charity ad posters, representatives of charities and scientists discuss about development cooperation, colonial fantasies, racism and power structures. 'white charity' is an exemplary analysis of racism in images which reaches far beyond the horizon of development. It supports a sharper analysis of images in commercials, print and TV.
Views: 55001 whitecharityfilm