...Metamorphoses in Dune Alexandru Maniu In Dune, people can be both men and animals. For purely artistic reasons, the coexistence of different life forms under the same mask is a constant in Ovid’s Metamorphoses. In Orphism, nothing is immutable and everything is subject to change. For Ovid, this postulate must have had some limits generated by the artistic process: “nor can the arts that cure others cure their lord”. Transformed characters – so punished for ill behavior or challenging the gods – eventually acquire immortality, just like the poet himself. Deities can be either anthropomorphic or theriomorphic, yet they can change according to their own will and they don’t lose their divinity in the process. Ovid’s metamorphoses are usually final and the poor misfortunate loses some of his humanity forever. By far the cruelest fate is for one to lose his power of speech or his free-speech, as in the case of Acteon, changed into a stag, Callisto, changed into a bear or Lycon, who becomes a wolf. On a more subtle level, the nymph Echo is left only with the power of speech, but her words are not her own, as she is forced to repeat whatever she hears. All these stories cover a more complex level of understanding that deals with religion and ritual, and should not be taken as mere parables of morality. The myth of Artemis and Acteon encapsulates the confrontation between crude human conscience and the mystery of life, epitomized by the maternal deity (Isis, Artemis, Diana), with...
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...Using Third Person Omniscient POV by Brian Davis Introduction Writing in Third Person Omniscient point of view lets you do many things with your story that you wouldn't normally be able to do were you to use a Limited or even a Multiple point of view. Third Person Omniscient lets you move freely through time and space, gives more information in a smaller amount of time, and yes, even shows what multiple people are thinking within a scene. There are a lot of advantages to Third Person Omniscient, but if you look at fiction novels written in the 20th century, most are written in Third Person Limited. Why is that? Part of the reason is that Third Person Omniscient is considered one of the hardest POVs to master because there are a lot of places where you can go wrong. First, many new writers confuse Omniscient with "Head-Hopping". This often happens because a writer wants to show what many or all of the characters within a scene are thinking, and then simply writes it down as if it were Third Person Multiple instead of Omniscient POV. This'll come out as a jumbled and confusing pile of perspectives mixed together. Second, many don't quite grasp the differences between an Objective perspective and a Subjective perspective, and how to use them to their advantage. Third, Third Person Limited (or Multiple) can be indistinguishable at times from Third Person Omniscient, which can make things very confusing. Then come the big drawbacks of using Third Person Omniscient:...
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...see The Hero's Journey (disambiguation). The twelve stages of the hero's journey monomyth following the summary by Christopher Vogler (originally compiled in 1985 as a Disney studio memo): 1. TheOrdinary World, 2. The Call to Adventure, 3. Refusal of the Call, 4. Meeting with the Mentor, 5. Crossing theThreshold to the "special world", 6. Tests, Allies and Enemies, 7. Approach to the Innermost Cave, 8. The Ordeal, 9. Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir. In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on anadventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1] The concept was introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), who described the basic narrative pattern as follows: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[2] Campbell and other scholars, such as Erich Neumann, describe narratives of Gautama Buddha, Moses, and Christ in terms of the monomyth. Critics argue that the concept is too broad or general to be of much usefulness in comparative mythology. Others say that the hero's journey is only a part of the Monomyth. The other part is a sort of...
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...blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous trees do In golf what name is given to the No 3 wood If you has caries who would you consult What other name is Mellor’s famously known by What did Jack Horner pull from his pie How many feet in a fathom which film had song Springtime for Hitler Name the legless fighter pilot of ww2 What was the name of inn in Treasure Island What was Erich Weiss better known as Who sailed in the Nina -...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Every year during the month of March a family of ragged gypsies would set up their tents near the village, and with a great uproar of pipes and kettledrums they would display new inventions. First they brought the magnet. A heavy gypsy with an untamed beard and sparrow hands, who introduced himself as Melquíades, put on a bold public demonstration of what he himself called the eighth wonder of the learned al-chemists of Macedonia. He went from house to house dragging two metal ingots and everybody was amazed to see pots, pans, tongs, and braziers tumble down from their places and beams creak from the desperation of nails and screws trying to emerge, and even objects that had been lost for a long time appeared from where they had been searched for most and went dragging along in turbulent confusion behind Melquíades’ magical irons. “Things have a life of their own,” the gypsy proclaimed with a harsh accent. “It’s simply a matter of waking up their souls.” José Arcadio Buendía, whose unbridled imagination always went beyond the genius of nature and even beyond miracles and magic, thought that it would be possible to make use of that useless invention to extract gold from the bowels of the earth. Melquíades, who was an honest man, warned him: “It won’t work for that.” But José Arcadio Buendía at that time did not believe in the honesty of gypsies, so...
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