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Saturday, January 25, 2020

Touch Of Evil Essay -- essays research papers

Touch of Evil Director: Orson Welles Producers: Rick Schmidlin, Albert Zugsmith Director of Photography: Russel Metty Writer: Orson Welles Editor : Aaron Stell, Walter Murch Poduction Designer/ Art Director: Robert Clatworkth Alexander Golitzen  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  AVF 10 –   Ã‚  Ã‚  Ã‚  Ã‚  5/1/05   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  In Orson Welles’ classic film noir production Touch of Evil, a Mexican police officer named Mike Vargas (Charlton Heston), becomes the target of an American police officer named Hank Quinlin (Orson Welles), when Vargas attempts to expose Quinlin framing a murder suspect. Quinlin, a celebrity among police officers has become corrupt in his practices and is willing to go any lengths including committing murder to uphold his reputation. Vargas is an honest man who faces Quinlin’s corruption to protect the rights of the accused. In doing so, he puts his wife in danger, who ends up the victim of a plot against Vargas. Although Vargas appears to be the hero, the viewer experiences frustration with his character due to his negligence concerning his wife. Caught between the accuser and the accused, American deputy Pete Menzies (Joseph Calleia) is loyal to Quinlin but later helps Vargas when the truth is revealed.   Ã‚  Ã‚  Ã‚  Ã‚  The tension between Mike Vargas and Hank Quinlin begins very early in the film. The scene in which the two meet for the first time, at the scene of the explosion, establishes Quinlin as a well-respected man whose appearance is larger than life. Quinlin’s arrival to the scene is much awaited based on the conversation between the other officers. When Quinlin finally does arrive the camera immediately jumps from one mans line which is shot at eye level, to a shot of Quinlin exiting his car from very low to the ground, accentuating his size. Quinlin is shot from below in this way for the majority of the film.   Ã‚  Ã‚  Ã‚  Ã‚  The scene edits back and forth from the scene of the explosion to Vargas’ wife who has been led into danger following her dismissal to the hotel. The fact that... ...he antihero die in his own filth. Quinlin at the point of his death has made his way down the bottom of a bridge and is surrounded by garbage. Tanya who had predicted Quinlin’s impending doom shows up as Quinlin dies.   Ã‚  Ã‚  Ã‚  Ã‚  The film stays in line with classic noir in many ways. The usage of dark sets and high contrast lighting, which creates heavy shadows on the actors faces, makes the movie feel like it all happens at night and in dark alley ways. The story focuses on the inhumane parts of human nature. Each of the main characters experiences some kind of tragedy. For Vargas his tragedy was in dealing with Quinlin who has set out to frame him and his wife. For Quinlin his entire life represented a man consumed with darkness who lives his life with a â€Å"Touch of Evil.† Menzies was a hopeful man who looked up to Quinlin but was let down. For the viewer, film noir represents truth, even if it is not a truth that all people would like to hear.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  

Friday, January 17, 2020

John Dryden Translator of Virgil Essay

John Dryden translated Virgil in the late 1690’s when more than fifty Englishmen before him had tried to translate at least some Virgil and many translated after his death in the seventeenth century as John Denham and Edmund Waller. What makes Dryden’s translation the most successful version, the most read and accepted between its competitors? How did Dryden translate his Virgil and why? And what kind of response did his translation receive at the time? â€Å"Without invention a painter is but a copier, and a poet but a plagiary of others. Both are allowed sometimes to copy and translate†¦Ã¢â‚¬  Dryden stated that he used paraphrase and literal translation when translating Virgil, which allowed him the liberty of modernizing it. Dryden believes that he used what was best in matter, form and style in translating Virgil by means of paraphrasing, rephrasing, and changing some phrases which when translated word for word would produce an odd meaning of the terms. â€Å"Imitators are but a servile of cattle† says Dryden, the reason why he didn’t want just to imitate Virgil, but personalize and domesticate his translation. By doing this, Dryden transformed Virgil’s poems, and particularly the Aeneid, into autobiographical and personal statements. So, how did he do this? Dryden used the political background of the events that happened in Rome and paralleled them to recent political events to express his personal opinions. By the way of adding and modifying phrases, Dryden changes the tone of the first Eclogue from melancholy to bitter, transforming the poem to express his own depressed spirit. This spirit changes and develops further in the ninth Eclogue which has a similar background as the first. Here, Dryden makes full use of the poem to attack literally the Williamite government, where he accuses it of killing his creativity. He substitutes â€Å"the corrupt city† of Virgil by â€Å"the Court† continuing with his bitter feelings towards the Establishment with phrases like â€Å"the Bribes of Court†. Furthermore, the Virgil volume was dedicated to non- Williamite noblemen. Dryden’s loathing of William often makes him bring hostility to foreignness in Virgil. His Virgil has been seen as a Jacobite work, supporting the exiled James II. Another huge background change was the introduction of Christian universe. Dryden introduces Christian terms to the Virgil, replacing the Roman paganism. He introduces â€Å"Heaven† with all its Christian connotations, replacing Virgil’s words for the gods, the fates, and fortune. This new Christian conception changes the character and mission of the hero. Aeneas is transformed into a Christian who bears his misfortunes with patience as he is on a divine mission. â€Å"I have endeavour’d to make Virgil speak such English as he wou’d himself have spoken, if he had been born in England, and in this present Age† As to the language of translation, Dryden’s version has many identical traces with the works of many others who preceded him. Dryden is thought to have read at least forty of the previous Virgil translations. He is thought to have borrowed many of Douglas’s word translations; Chaucer’s rhymed couplets and most of all, Lauderdale’s word rhymes. Dryden â€Å"thought it fit to steer betwixt the two Extreams, of Paraphrase, and Literal Translation† and stated that â€Å"Some things too I have omitted, and sometimes added of my own†. â€Å"But by what Authority? † , asked Luke Milbourne angrily. From its first appearance, Dryden’s Virgil was canonized. His most distinguished antagonists are Swift and Wordsworth. Swift wrote â€Å"A Tale of a Tub† which takes aim at Dryden, intending his demolition but failed enormously and may have even contributed to Dryden’s sale. Wordsworth wrote â€Å"whenever Virgil can be fairly said to have had his eye upon his object, Dryden always spoils the passage. † Milbourne, in his â€Å"Notes on Dryden’s Virgil†, details objections to nearly six hundred separate passages, and supplies many alternatives of his own or Ogilby’s renderings, saying that although his words are not well placed, but they keep the original meaning of Virgil. Spence in his Polymetis , an illustrated mythology book, advances numerous objections to Dryden’s Virgil. Another attack is from E. M. W. Tillyard who objects on his crudity, vulgarity, or sometimes over-gentility. Samuel Johnson remarked that â€Å"Dryden’s faults are forgotten in the hurry of delight, and Pitt’s beauties are neglected in the languor of a cold and listless perusal. † Dryden’s style aims at the clarification of Virgil and transparency of translation. By domestication, and parallelism of the political background, Dryden was able to produce an epic which came alive after centuries, by adding to it his passions, senses and the concerns of his own age. Sources: * Dryden’s Virgil: Translation as Autobiography, Thomas H. Fujimura, University of North Carolina Press, 1983 * Dryden’s Virgil, William Frost, CL summer 1984, Volume 36, # 3. * John Dryden, Preface to Ovid’s Epistles, in Of Dramatic Poesy and Other Critical essays, ed. George Watson (London, 1962) II, p. 195. * Dryden, J ; (1956) â€Å"Preface to Ovid’s Epistles† (1680), in E. N. Hooker and H. T. Swedenberg, Jr. (eds), The works of John Dryden, vol. 1, Berkeley and Los Angeles, CA: University of California Press. * Luke Milbourne, Notes on Dryden’s Virgil (1698 ; rpt. New York and London, 1971) pp. 32, 80, 136 * Dryden : The Critical Heritage, ed. James Kinsley and Helen Kinsley (London and New York, 1971), p. 324 * Joseph Spence, Polymetis (1747; rpt. New York and London, 1976) * The Cambridge Companion to Virgil, (ed. ) Charles Martindale: Cambridge University Press, 1997, p. 31

Thursday, January 9, 2020

Essay On Mind Body Argument - 1409 Words

Mind Body Argument Alex Seeley October 9, 2017 Phil 101-005: Appreciation of Philosophy Professor Cheri Hanson The Mind-Body Problem is one with many different opposing viewpoints and standpoints that has baffled the minds of many that question their existence in the physical realm. Many would argue that the mind is separate from the body which sounds quite poetic nature, but with all emotional feelings aside what would be the actual scientific, cynical some could argue, way of actually addressing the Mind-Body Problem? Since there is very limited evidence that people can observe physically then it is apparent that the idea of Dualism is quite outlandish. Typically, when an argument accounts for unobservable facts and rather theoretical†¦show more content†¦This creates far more complexity to the argument regarding dualism. From a scientifical, non-biased/non emotional standpoint, formal logic best separates the emotional state from reality to essentially remove the lense in which reality is perceived. Formal logic, most attributed to the 14th century logician, Franciscan friar William of Ockham, presents the philosophical theory known as Occam’s Razor. Occam’s Razor is the argument that when considering two different alternatives, one is better off choosing the simpler alternative over the more complex as it presents less room for reasonable doubt and more room for factual evidence. He states, â€Å"When you have two competing theories that make exactly the same predictions, the simpler one is the better (W. M. Thorburn)† This idea is largely applied to scientific evidence that would theoretically eliminate the possibility of supernatural beings and more so favor the idea of physicalism. if simplicity is the modus operandi, the postulation of immaterial objects, in this case a soul /personality, clouds the question with more unnecessary reason and doubt. Though mathematics could be argued as immaterial and a made up interpretation of reality, they relate to the physical world directly allowing humans to further interpret their surroundings in relation to the objects around them. Regarding Occam’s Razor, consider the idea that there are immaterialShow MoreRelatedEssay about The Unity Of The Mind And Body1748 Words   |  7 PagesUnity of the Mind and Body Both Michel De Montaigne and John Donne argue that the cultivation of the mind is linked to the well being of the body. Both argue that a mind void of proper enrichment and education will lead to an unhealthy body. 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