Sir Roger De Coverley Essays From The Spectator

He con­tinues the process of forming bodies on lower planes out of material ensouled by the first outpouring from the Third Aspect of the Deity; but he finally [4] reaches a level in evolution in which the causal body is the lowest that he needs, and when this is attained we have the spectacle of the ego, which represents the third outpouring from the First Aspect of the Deity, inhabiting a body composed of matter ensouled by the second outpouring.

thesis spectator essay coverly 2 .

King and Chavez have two very different styles of writing but the message from both is simmilar.

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The value of worker innovations is material, and CHC tried to show howthe contradictory nature of capitalism rewarded both adherence to and variationfrom the norms (both standardization and differentiation). Thatobservation works not only for the system but also for the individual operatingwithin Hollywood. Both economic and stylistic analysis points toa bounded set of options that have flexibility to change. Such anobservation is not one solely available to scholars. People working withinthe industry may witness it operating. I stressed in my evaluationof the Hollywood mode of production that an ideological attitude about authorshiphad permeated the industry by the 1930s (CHC, 336). It isscarcely a grand observation to note that discourses resembling early forms ofauteurism appear in industry and educational venues; D. W. Griffith even putout ads in trade papers in the early teens claiming he invented various stylisticpractices (see ).Thus, promoting one’s self has been, throughout the history of Hollywood,part of labor practices. Analyzingauthorship as a determined and historical agency continues as one of my on-goingresearch agendas.

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Gandhi is the "Most Important Peace Hero of the 20th Century" because he taught the world that freedom from the oppressor could be obtained through nonviolent means.

We are , and the point of consciousness is passing from one part of ourselves to another part which is equally our­selves.

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Likewise, my book Narration in the Fiction Film, written while we werewaiting for a publisher to risk printing CHC, recasts some of the CHC’stheoretical framework pertaining to narration and situates classical narrationin a wider field of options. Ozu and the Poetics of Cinema is an authorialstudy that tries to capture Ozu’s transformation of norms he inheritedfrom both Hollywood and Japanese film traditions. My books on the history ofstyle and the traditions of cinematic staging are further studies in norms andtheir creative recasting. Many of my online essays and blog entries bear on thesame issues. My study of Eisenstein is at once an auteur analysis and an accountof a director who himself explicitly aimed to create a poetics of cinema. Mostrecently, the first essay in Poetics of Cinema is my attempt to sumup what I’m aiming to accomplish in the study of film. In sum, if anyoneis tempted to take what I wrote in CHC as definitive, or as my finalthoughts, I urge them to turn to my later work. I’ve learned a few thingssince 1985.

: PerverseSpectators: The Practices of Film Reception (NY: New York UniversityPress, 2000), pp. 28–42.

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The besetting sin of both Montaigne’s translators seems to have been a propensity for reducing his language and phraseology to the language and phraseology of the age and country to which they belonged, and, moreover, inserting paragraphs and words, not here and there only, but constantly and habitually, from an evident desire and view to elucidate or strengthen their author’s meaning. The result has generally been unfortunate; and I have, in the case of all these interpolations on Cotton’s part, felt bound, where I did not cancel them, to throw them into the notes, not thinking it right that Montaigne should be allowed any longer to stand sponsor for what he never wrote; and reluctant, on the other hand, to suppress the intruding matter entirely, where it appeared to possess a value of its own.

Clinging to first impressions means that when we originally meet someone, we decide what they are like from that one time of meeting them.

David Bordwell, Janet Staiger, and Kristin Thompson

Haywood anonymously published a monthly journal entitled The Female Spectator. It was the first magazine by and for women, and was extremely popular. It was a collection of essays that allegedly originate in letters from readers. The essays provide an ideal forum of disscussion which gave Haywood direct contact to her public and vise versa. Haywood concerned herself with how women might operate better in a society that held restrictions upon them. She knew the difficulties of female life within a patriarchal system, but she wrote to show how not to accept such difficulties as a definitive of women's possibilities. Haywood's explicit recommendations to women urge them to work within the existing system, gain an education, and a strong sense of personal power.

The significance of first impressions is profoundly discussed by many, ranging from the employers to employee.

And why the Other with a capital O

Perhaps the most valuable thing I’ve learned isthat analyzing craft is endlessly interesting. By studying Hollywood with mytwo collaborators I was constantly reminded that art-making is a human activity,guided by will and skill, working on materials inherited from others. And thisactivity takes place within a community of artisans, who are sharing informationbut also competing to do something fresh. The line between craft and artistryin its more exalted sense is a hazy one, and I don’t claim to be able todefine it. But I’veworried little about drawing that line. Instead, I’ve surrendered to thepleasure of finding things out about how filmmakers do what they do. I want toknow their secrets, even the ones they don’t know they know.