In the 2014 movie, Spotlight, religion, represented by the Catholic Church, has an expected place for the community--the City of Boston, Massachusetts. And, the community of Boston, represented by the institution of a...In the 2014 movie, Spotlight, religion, represented by the Catholic Church, has an expected place for the community--the City of Boston, Massachusetts. And, the community of Boston, represented by the institution of a free press, has a corresponding expectation of the Church. In this paper, I explore these expectations as they are identified in the Oscar winning film, Spotlight.展开更多
This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility ...This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility by suggesting theories that incorporate the element of＂dramatic＂ performance. According to Auguste Diès the written dialogue is a literary version of a dialectical duel actually held in the Academy between a distinguished visitor and a selected group of students. Through the so-called process of＂transposition＂, Plato transforms a real life event into an artful piece of literature recreating the original scene for educational purposes. Gilbert Ryle, on the other hand, held that the dialogues were primarily intended for dramatic recitation in public, with Plato himself delivering the words of Socrates. They were delivered orally to audiences, as a rule in the context of literary competitions, in which the other Socratics also took part. Finally, Holger Thesleff has once suggested that the （re）performance of the dialogues as an established activity in the Academy constitutes a necessary stage in the composition of new works and the revision of the old ones. In view of his conviction that Plato was the inventor of the dramatic philosophical dialogue he also seemed to have been the first one who explicitly, however cautiously, entertained the idea of theatrical presentation of Plato＇s dialogues-though he later changed his mind and fallen back to the theory of public reading.展开更多
The aim of this essay is firstly to indicate a little-known film Le Dēpart made by the famous Polish director Jerzy Skolimowski in 1967 year as an example of the Polish New Wave. Although it was made in Belgium and i...The aim of this essay is firstly to indicate a little-known film Le Dēpart made by the famous Polish director Jerzy Skolimowski in 1967 year as an example of the Polish New Wave. Although it was made in Belgium and it stars Jean-Pierre Lēaud as a car-obsessed young man trying to get possession of a Porsche for a race. The film won the Golden Bear at the 17th Berlin International Film Festival and was also selected as the Belgian entry for the Best Foreign Language Film at the 40th Academy Awards, but was not accepted as a nominee. Secondly, I analyze the reasons of misunderstanding the idea of the director in the film when it was shown in the the public. Thirdly, ＂entering＂ this movie in context of art： poetry, painting etc. Then to answer the question （hypothesis）： ＂Is the Polish Film New Wave a phenomenon that did not exist？＂ The methodology used for the paper is analysis and interpretation of the film itself; analysis of its reception in the 60s and now： poetics of receipt, cognitivism, comparative research.展开更多
文摘In the 2014 movie, Spotlight, religion, represented by the Catholic Church, has an expected place for the community--the City of Boston, Massachusetts. And, the community of Boston, represented by the institution of a free press, has a corresponding expectation of the Church. In this paper, I explore these expectations as they are identified in the Oscar winning film, Spotlight.
文摘This article examines some ideas on reading Plato by three scholars, dating from different decades of the 20th century and setting off from various theoretical starting points, who explored an alternative possibility by suggesting theories that incorporate the element of＂dramatic＂ performance. According to Auguste Diès the written dialogue is a literary version of a dialectical duel actually held in the Academy between a distinguished visitor and a selected group of students. Through the so-called process of＂transposition＂, Plato transforms a real life event into an artful piece of literature recreating the original scene for educational purposes. Gilbert Ryle, on the other hand, held that the dialogues were primarily intended for dramatic recitation in public, with Plato himself delivering the words of Socrates. They were delivered orally to audiences, as a rule in the context of literary competitions, in which the other Socratics also took part. Finally, Holger Thesleff has once suggested that the （re）performance of the dialogues as an established activity in the Academy constitutes a necessary stage in the composition of new works and the revision of the old ones. In view of his conviction that Plato was the inventor of the dramatic philosophical dialogue he also seemed to have been the first one who explicitly, however cautiously, entertained the idea of theatrical presentation of Plato＇s dialogues-though he later changed his mind and fallen back to the theory of public reading.
文摘The aim of this essay is firstly to indicate a little-known film Le Dēpart made by the famous Polish director Jerzy Skolimowski in 1967 year as an example of the Polish New Wave. Although it was made in Belgium and it stars Jean-Pierre Lēaud as a car-obsessed young man trying to get possession of a Porsche for a race. The film won the Golden Bear at the 17th Berlin International Film Festival and was also selected as the Belgian entry for the Best Foreign Language Film at the 40th Academy Awards, but was not accepted as a nominee. Secondly, I analyze the reasons of misunderstanding the idea of the director in the film when it was shown in the the public. Thirdly, ＂entering＂ this movie in context of art： poetry, painting etc. Then to answer the question （hypothesis）： ＂Is the Polish Film New Wave a phenomenon that did not exist？＂ The methodology used for the paper is analysis and interpretation of the film itself; analysis of its reception in the 60s and now： poetics of receipt, cognitivism, comparative research.
