פרסומים אחרונים במדור "תרבות והיסטוריה"

And to the left, three yards beyond,
You see a little muddy pond
Of water–never dry
I measured it from side to side:
‘Twas four feet long, and three feet wide.
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Behold, to the left, just there beyond,
A humble pond in mud embond,
A pool that never dries.
I gauged its span from edge to edge,
Four feet in length, and three in pledge.
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There, to the left, a span beyond where grasses sway,
a pond, a modest mirror to the sky's array
Its waters, murky whispers from the earth's embrace,
never succumb to the sun's arid chase.

I paced its edges, soul touched by humble grace,
Four feet in breadth, three in length—it's a tranquil space.
Where nature's pulse in quiet resounds, wide and deep
In this little realm of peace, where time does gently sleep.
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In science one tries to tell people, in such a way as to be understood by everyone, something that no one ever knew before. But in the case of poetry, it’s the exact opposite!

He had a deep, laid-back delivery that many fans associated with the character. Using him for the movie would have maintained a sense of continuity and nostalgia.

Animation and Integration:
The CGI used to create Garfield didn't seamlessly integrate with the live-action elements of the film. The interaction between the animated character and the human actors often felt unconvincing, which detracted from the immersive experience of the movie.
Modification: Utilizing advancements in CGI and animation techniques seen in more recent films could significantly improve Garfield's integration into the live-action
environment. Employing motion capture technology, similar to what was done in movies like "Planet of the Apes" or "Paddington," would create a more lifelike and interactive Garfield.

Characterization and Voice Acting:
While Bill Murray's voice acting as Garfield was one of the more positively received aspects, some felt that the character's personality didn't fully align with the original comic strip. Garfield's trademark sarcasm and laziness were there but didn’t fully capture his essence.
Modification: To address this, the script should lean heavily into Garfield's iconic character traits, grounding his humor and attitude more deeply in the source material. Dialogue that sharper reflects his unique brand of humor, matched with situations that highlight his cunning, laziness, and love for lasagna, would help. Furthermore, involving voice actors who can bring depth to the supporting characters will enrich the overall narrative.

Story and Humor:
The plot was considered simplistic and not engaging enough for older audiences, while the humor didn't always hit the mark, failing to capture the cleverness and charm of the comic strip.
Modification: A plot restructuring could provide a richer storytelling experience. Incorporating a mix of humor that appeals both to children and adults — something films like "Shrek" and "Pixar" movies excel at — could broaden its appeal. The story could delve into more adventurous or heartwarming territory while still maintaining Garfield's characteristic disdain for effort, giving it more depth and engagement.

Faithfulness to the Source Material:
Fans of the original "Garfield" comics and cartoons felt the movie did not stay true to the essence of the characters and the universe they inhabit. Key characters felt underdeveloped or inaccurately portrayed.
Modification: Strengthening the narrative with subplots and character arcs that are reminiscent of the beloved comic strip storylines would honor the source material more faithfully. This includes giving more screen time and development to characters like Jon Arbuckle, Odie, and Nermal, ensuring that their personalities and relationships with Garfield are well explored.

Visual and Thematic Style:
The movie’s visual style was criticized for being too generic and lacking the vibrant, distinctive aesthetic characteristic of the comics.
Modification: To enhance the visual appeal, the film could incorporate more of the comic strip's visual elements, using a color palette and production design that evoke the warmth and whimsy of Garfield’s world. Thematic elements such as Garfield’s commentary on pet and human relationships, the absurdities of daily life, and his philosophical musings could also be woven into the narrative more thoughtfully.

In summary, to make the 2004 "Garfield" film better, it would require a holistic approach that includes technological advancements in animation, a deeper dive into character development, a more engaging and age-inclusive script, greater fidelity to the source material, and a visually distinctive style that captures the essence of Garfield's universe.
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Goodman has a warm yet commanding voice that can carry both tenderness and a gruff edge. His range as a voice actor is evident in roles such as Sulley in "Monsters, Inc." and Pacha in "The Emperor's New Groove." Goodman's capacity for playing both lovable and cantankerous characters could have made him an interesting choice for Garfield.

Suggest a slightly modified plot for "The Catcher in the Rye" to make it more compelling, while preserving other qualities of this book

In an alternate version of "The Catcher in the Rye," protagonist Holden Caulfield is not merely a troubled teenager wandering the streets of New York City, disillusioned by the phoniness of the adult world. Instead, this narrative introduces a compelling twist: Holden has a younger sister, Phoebe, who is seriously ill. This crucial plot element adds an underlayer of urgency and purpose to Holden's journey.

The story begins as the original does, with Holden being expelled from his prep school. However, in this version, his immediate concern upon leaving school early isn't to avoid his parents’ disappointment, but to spend time with Phoebe, fearing he may not have many more opportunities to do so. The depth of his affection for Phoebe and his fear of losing her contrasts sharply with his cynical view of the world, adding layers to his character and making his disdain for adult hypocrisy even more poignant. He sees in Phoebe a purity and innocence he believes is worth protecting at all costs, fueling his fantasy of being "the catcher in the rye."

As Holden wanders through New York City, his escapades and reflections are tinged with this added dimension of familial love and fear of imminent loss. The various encounters he has – with former teachers, nuns, old acquaintances, and strangers – are colored by his internal struggle between maintaining his connection to childhood innocence through Phoebe and facing the inevitable realities of adult life, which he views as fundamentally corrupt and devoid of authenticity.

Holden's visit to the Museum of Natural History becomes even more symbolic; it's not only his own childhood he wishes to preserve in amber but also Phoebe’s. His later decision to run away and live a reclusive life, inviting Phoebe to join him, stems from a desperate attempt to save her not only from the physical illness that threatens her life but also from the metaphorical diseases he perceives in society.

In the climactic carousel scene, as Holden watches Phoebe ride round and round, his realization deepens. The beauty of the moment lies not in preserving Phoebe in perpetual innocence but in allowing her the freedom to grow, change, and even fail. This moment of clarity brings a more profound conclusion to Holden's journey, portraying not just a young man's cynical view of adulthood but a poignant narrative of coming to terms with the complexities of life, the inevitability of change, and the power of letting go.

This modified plot preserves the fundamental essence of "The Catcher in the Rye" – the alienation, the struggle with identity, and the critique of societal norms – while adding a layer of emotional depth and narrative drive through the looming tragedy of Phoebe’s illness. Holden is not just a disaffected youth but a brother grappling with looming loss, making his journey a universally resonant story of love, fear, and the painful process of growing up.

The following poem by WILLIAM WORDSWORTH is not one of his best:
[poem]
Can you improve it?

To the left, just yards beyond,
A murky pond, a solemn bond,
Its waters never dry.
I measured from its edge astride:
Four feet in length, three feet wide.

To the left, beyond a brief expanse,
There lies a pond, by chance glance,
A tranquil pool, enduring and serene,
Its breadth and length, a measured scene:
Four feet across, in width but three,
A simple spectacle of harmony.

In this rendition, the endeavor is to enhance the imagery and emotion evoked by the original text, while maintaining the essence and measurements that form the core of Wordsworth's lines.

In this gloomy frame of mind it was positively cheering to wander into the print room to find the Bursar arguing the theory of words with Goodmountain.

Hold on, hold on,' said the Bursar. 'Yes, indeed, figuratively a word is made up of individual letters but they have only a,' he waved his long fingers gracefully, 'theoretical existence, if I may put it that way. They are, as it were, words partis in potentia, and it is, I am afraid, unsophisticated in the extreme to imagine that they have any real existence unis et separato. Indeed, the very concept of letters having their own physical existence is, philosophically, extremely worrying. Indeed, it would be like noses and fingers running around the world all by themselves-

That's three 'indeeds', thought William, who noticed things like that. Three indeeds used by a person in one brief speech generally meant an internal spring was about to break.

'We got whole boxes of letters,' said Goodmountain flatly. 'We can make any words you want.'

'That's the trouble, you see,' said the Bursar. 'Supposing the metal remembers the words it has printed? At least engravers melt down their plates, and the cleansing effect of fire will-'

"scuse me, your reverence,' said Goodmountain. One of the dwarfs had tapped him gently on the shoulder and handed him a square of paper. He passed it up to the Bursar.

'Young Caslong here thought you might like this as a souvenir,' he said. 'He took it down directly from the case and pulled it off on the stone. He's very quick like that.'

The Bursar tried to look the young dwarf sternly up and down, although this was a pretty pointless intimidatory tactic to use on dwarfs since they had very little up to look down from.

'Really?' he said. 'How very . . .' His eyes scanned the paper.

And then bulged

'But these are . . . when I said . . . I only just said . . . How did you know I was going to say . . . I mean, my actual words . . .' he stuttered.

'Of course they're not properly justified,' said Goodmountain.

'Now just a moment-' the Bursar began.

...

The Bursar's face had that warm glaze of someone who deals in numbers and can see one huge and inconvenient number getting smaller in the very near future, and in those circumstances philosophy doesn't stand much of a chance. And what was visible of Goodmountain's face had the cheerful scowl of someone who's worked out how to turn lead into still more gold.

'Well, of course, a contract of this size would have to be ratified by the Archchancellor himself,' said the Bursar, 'but I can assure you that he listens very carefully to everything I say.'

'I'm sure he does, your lordship,' said Goodmountain cheerfully.

Turning Turing

There once was a young man named Gene,
Who invented a screwing machine.
Concave and convex,
It served either sex,
And it played with itself inbetween.