I saw The Immortals yesterday in theaters and I agree. Ancient heros suck. At least they did in this very bad madefortv/soapoperatype sad excuse for entertainment I paid 12 bucks a ticket to suffer through. Yes, that's right. 12 bucks per ticket. It was in 3D. So add a headache to the wasted time and money.
The fight scenes and a few of the camera cuts and cgi combos were pretty good but everything else sucked major balls. By same people that did the 300 which was a much better movie. If I had been there with anyone besides my son(I try not to embarrass him) I would have amused myself by shouting "Beef Cake!" obnoxiously every time a dude with an impressive six-pack was shown tunic-less. Which was often. dj On Nov 12, 3:22 pm, archytas <[email protected]> wrote: > I translated the cat as getting me to stroke her to make the pup > jealous and that she succeeded well in this. I wonder whether it was > a step too far to think she was exacting a sister's revenge as my own > had done in such play. I agree with Allan but am bored with ancient > heroes whether made modern or not. One might rewrite like Cervantes, > as series of exploits only the horse understands, or in radical > regendering, a female cat. A heroic project Don, though Plato did > comment you couldn't be sure of the meaning of Greek words from one > generation to the next. We did it at school, so it's destroyed > already in me! > > On Nov 12, 8:53 pm, Allan H <[email protected]> wrote: > > > > > I was watching TV the other day and I was watching Sherlock Holmes a very > > updated version in todays world.. the thought occurred to me whay not up > > date the Illiad into the 21century? Yes it would take extreme creativity > > but you would be able to bring the balance and harmony to the language. > > Just a thought > > Allan > > > On Sat, Nov 12, 2011 at 8:13 PM, gabbydott <[email protected]> wrote: > > > Do you know why a picture book of Homer's oddysee without words would not > > > sell well, Francis? People pay for being given the right words and not to > > > think of the right words. Which is fine to a certain extent. To the extent > > > that they take words for the truth. > > > > On Sat, Nov 12, 2011 at 7:43 PM, Francis Hunt <[email protected] > > > > wrote: > > > >> The following contains some interesting comments on translation from one > > >> of my favourite bloggers: > > > >>http://perpetual-lab.blogspot.com/2011/07/homers-odyssey.html > > > >> On 12 November 2011 19:33, gabbydott <[email protected]> wrote: > > > >>> Buh, this sounds like the pee water adaption! A dreadful twang in pink > > >>> tütü! > > > >>> But you are right, your English language is definitely more poetic than > > >>> the sober German language, for example. > > > >>> On Sat, Nov 12, 2011 at 6:48 PM, Don Johnson <[email protected]> wrote: > > > >>>> I thought this was very interesting. I'm very appreciative of how > > >>>> writing can flow with a special place in my heart for alliteration. > > >>>> I've noticed some translations are unbearable to read because of lost > > >>>> flow. The title really caught my eye. > > > >>>> WORD CRAFT: Found In Translation > > > >>>> I have spent the last three years translating Homer's "Iliad," a > > >>>> project I began because none of the English translations on my > > >>>> bookshelf interested my ear enough to get past Book 1. Translating is > > >>>> a specialized kind of work, but in the most general sense, it is the > > >>>> art of listening. It has lessons for anyone who cares about the sound > > >>>> of their writing. > > > >>>> With Homer, the first thing that I do is my homework, looking up the > > >>>> Greek words I don't know and studying the commentaries. I'm left with > > >>>> a bramble of possibilities handwritten on the right-hand page of my > > >>>> notebook and a blank page on the left. > > > >>>> Below, for example, is a passage from the very beginning of the > > >>>> "Iliad." Apollo's priest has been offended by King Agamemnon and prays > > >>>> to the god to inflict disaster on the Greek army camped before Troy. > > >>>> Apollo strides down from Mount Olympus and starts shooting his plague > > >>>> arrows. > > > >>>> Then he sat down apart from (opposite) the ships and shot (let fly) an > > >>>> arrow, > > > >>>> and terrible was the twang from the silver bow. > > > >>>> First he attacked the mules and the swift dogs, > > > >>>> then he shot his sharp (piercing) arrows on the men themselves, > > > >>>> and forever the pyres of the dead kept burning thick (close > > >>>> together). > > > >>>> This is raw stuff, as any literal version must be, with no life in the > > >>>> language. At this point I begin to listen for the rhythm (a music that > > >>>> I hear before the words themselves come into focus in my ear), and > > >>>> line by line, sometimes after a minute, sometimes after 10—magically, > > >>>> it seems—the words begin to configure themselves, my hearing creates > > >>>> what I want to hear, the pen starts to write, and I am a fascinated > > >>>> witness. > > > >>>> Here is my second draft: > > > >>>> Then he dropped to one knee and an arrow flew, > > > >>>> and a dreadful twang arose from the silver bow. > > > >>>> First he attacked the mules and the flickering dogs, > > > >>>> then he let fly his arrows on the men themselves. > > > >>>> And night and day the pyres of the dead kept burning. > > > >>>> Not bad, but the language is still quite awkward, the rhythm choppy, > > >>>> and it ends with a fizzle, not with the kind of commanding harmonic > > >>>> cadence I am listening for. > > > >>>> The rest of the work, over the next few days or weeks, is a process of > > >>>> refining, of testing every word, every sound, against my sense of what > > >>>> Homer's music should sound like in English, an English that is rapid, > > >>>> direct and noble, as his Greek is. Sometimes it takes five or six > > >>>> drafts until my ear is satisfied, sometimes 30 or 40. > > > >>>> Here is the passage in its final form: > > > >>>> He dropped to one knee and drew back a deadly arrow, > > > >>>> and a dreadful twang rang out from the silver bow. > > > >>>> First he attacked the mules and the dogs, but soon > > > >>>> he shifted his aim and struck down the men themselves. > > > >>>> And the close-packed pyres of the dead kept burning, burning, > > > >>>> beside the Achaean ships, all day and all night. > > > >>>> I like the insistent sound of the d's in the first line here. > > >>>> "Dreadful twang" was good already, I thought, but "twang/rang" sounded > > >>>> even better. And the extra "burning," which I stumbled upon in the > > >>>> fourth draft, made my skin tingle. > > > >>>> Before you finish a piece of your own writing, you might try reading > > >>>> it out loud or silently, paying attention just to the sound of the > > >>>> words. If you come to a phrase that doesn't sound quite right, let > > >>>> your ear, rather than your thinking, revise the line. You may be > > >>>> surprised by what you didn't know you knew. > > > >>>> —Mr. Mitchell is a writer and translator whose many books include "Tao > > >>>> Te Ching," "The Book of Job" and "Gilgamesh." His translation of > > >>>> Homer's "Iliad" was published last month. > > > >>>>http://online.wsj.com/article/SB1000142405297020419070457702447079869... > > > >> -- > > >> Francis Hunt > > > >> *francishunt.blogspot.com* > > > -- > > ( > > ) > > |_D Allan > > > Life is for moral, ethical and truthful living.- Hide quoted text - > > - Show quoted text -
