Farkle,
I go along with COMF, since I hardly knew my father, either. You're a lucky man to have ... actually known him as a father, and benefitted from his teaching and example. It must be a wonderful thing.Sorry for your loss.
Peace,
tj
Posts by teejay
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76I Said Goodbye
by Farkel inmy father was rushed by ambulance from his rest home to st. marks hospital in salt lake city, utah friday, but i only just heard about it.
i received a call from the floor nurse and she told me he is not expected to live.
his lungs are filled fill up with fluid and are continuing to fill u with more fluid: he has pneumonia.
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teejay
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52
Need new drink!!!
by tattoogrl333 inok this has nothing to do with being a jw or anything of that nature but it is important to me and i need some help:.
here goes i have been drinking rum and coke (bacardi) since i can remember and finally realized that maybe it is contributing to my severly harsh hangovers.
so i went on a quest in search of a new drink.
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teejay
...and if these recipes aren't enough, go to http://www.epact.se/acats/drinks.html for about a thousand more. enjoy!
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28
MAXIMUS - Don't Ever leave
by hawkaw inmax,.
i just read another thread where someone took a "shot" at you with the f__k word etc.. go hug your wife and remember what happens in october with your family.. you may meet 10 idiots on this board but i assure you, you will help save at least one life and another one's freedom.. hawk
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teejay
Wow, Max! Someone took a shot at you with the f-bomb and you're leaving? Dang. If that was all it took for me, I'd 'a left long time ago. Stick around, dude. Don't let the idiots get ya down. As someone told me once, they are only nipping at your boots.
tj
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50
an essay for Farkel
by teejay inlast fall, my second year of college english was based on the movies instead of classic literature.
the textbook dealt with cinematic elements (lighting, sound, camera position, etc) as the tools filmmakers use to tell their story beyond mere dialog.
the assignments involved watching clips of film, determining what the filmmaker was saying by his use of those elements, then writing full-bodied essays based on our assessments.. one of the film clips we saw was from dead poet's society.
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teejay
To all who responded to this thread:
I was given the tools, material, and the rough dimensions and told to build a dog house. I did. In fact, I built an 'A' Number 1 dog house. It was, afterall, for a dog.
Along comes different people to view my work. I told them what I said above--the client wanted a dog house. For a dog. Some say, "Well, it *is* a dog house. ONLY a dog house, but, yes, it is a dog house." Then, a couple of others say, "Damn, you idiot, it's only a dog house. Why didn't you build a three-bed, two bath 3000 sq foot house with a two-car garage?"
I say, "well..."
I was shown a six or seven minute clip of film. I was told to write an essay; one with a thesis, three supporting paragraphs based on cinematic elements used by the filmmaker, an intro and a fitting conclusion. That is what I did.
Now, for the critics: I'd challenge you to do better, but I won't do that since I know that is not likely possible. It is not possible to get a better grade than the one this essay received, a grade the professor said she never had given to any essay in twelve years of teaching on the college level.
Based on all of the above, perhaps my words, "I don't care about the negative comments from strangers" are now more believable.
peace,
tj -
50
an essay for Farkel
by teejay inlast fall, my second year of college english was based on the movies instead of classic literature.
the textbook dealt with cinematic elements (lighting, sound, camera position, etc) as the tools filmmakers use to tell their story beyond mere dialog.
the assignments involved watching clips of film, determining what the filmmaker was saying by his use of those elements, then writing full-bodied essays based on our assessments.. one of the film clips we saw was from dead poet's society.
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teejay
larc,
if you wish to believe that i care about the opinions of strangers, fine. i have no problem with that. one of my main goals here is to show that many of the posters have not advanced very far beyond the mentality of an average jw--they just don't go to the kingdom hall anymore. this can be seen in a variety of ways. in itself, it's not necessarily a bad thing. what does make it bad is when those same people condescend and needlessly criticize jws. there's a word for when people criticise in others what they themselves do.
you keep calling what my post on the Matt 25 thread as a barb. you are misreading it. yes, i skimmed it, but is my analysis correct?
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dedalus,your job qualifies you as an able editor and critic of literary material. i have no problem with that. where you showed a lack of decorum and class is when you jumped in unannounced into a dialog between two individual posters. you could have handled yourself a little better, that's all.
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hillary_step,i'm not especially 'proud' of the essay i posted above, but it IS an essay due to it's content and construction. as well researched, thoughtfully written and helpful as Farkel's material is to some, i would not call them essays. they are more like commentaries, pinpointing inaccuracies of thought and theology in someone else's work. again, i have no problem with that, but beginning with a kernal of an idea and working it up into an essay where it's able to stand on its own is not the same.
as i mentioned to Larc (and you may disbeleive it as he does), i really don't care about the personally negative opinions of strangers, although the critique of the above essay is totally justified. i'm not a professional writer, and would not begin to even think of myself as one simply because i've finished two semesters of college English. i AM amused by the unfair criticism from some who are not about to offer their essays to public scrutiny... even more of a reason to disdain their words.
Farkel has been most magnanimous in his treatment of TeeJay over this whole issue.
Farkel has been more than fair towards me. perhaps we, he and i, have turned a corner and i must say that i am not repulsed by the idea.
peace to all
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50
an essay for Farkel
by teejay inlast fall, my second year of college english was based on the movies instead of classic literature.
the textbook dealt with cinematic elements (lighting, sound, camera position, etc) as the tools filmmakers use to tell their story beyond mere dialog.
the assignments involved watching clips of film, determining what the filmmaker was saying by his use of those elements, then writing full-bodied essays based on our assessments.. one of the film clips we saw was from dead poet's society.
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teejay
Still waiting for you to post an essay of substance. This cliched plot regurgitation doesn't quite cut it.
Oh, I'm sorry, Dedalus. I didn't know you were there or that I needed to meet YOUR requirements. I'd ask you to 'show me yours,' but I don't really care about comments from the peanut gallery... folks like you who sit on the sidelines and can only muster criticism for the participants. People who do what you've done here are sad.
Be that as it may, Farkel wanted to see "an essay." The one I posted qualifies. Thank you for your comments.
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Farkel
In all fairness to you, you do have a pleasant style of writing.
Thank you. You show uncommon fairness toward me here, and I appreciate it.
Of course this board is about dubs and dub issues, not about movie reviews and/or your ruminations about them. I'll be more specific this time: can you write an essay that we ex-dubs can relate to, i.e. one that involves dub issues? This takes some work. And thought. Can you do that?
I have a subject in mind, been meaning to post, but it's gonna take a little time to get it together. In the meanwhile, read this: http://www.jehovahs-witness.com/forum/thread.asp?id=5084&site=3. btw, what do you mean by "a subject that concerns dubs." I'm serious. Not all dubs are the same. Give me some parameters. I'll see what I can do.
If you can, I will be in the forefront to applaud your efforts.
Again, a fairness I knew you were capable of but never thought I'd see expressed toward me. Thank you.
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larc
I think the crowd is a little hard on you because of the bias some of your earlier posts have caused. I think if you stay out of the area of interpersonal nit picking and continue to submit posts with content, that public opinion will turn around.
I understand the make-up of this particular crowd and why it acts the way it does. If the mix were different, so would be the reactions I received. I have no problem with that.
Secondly, you say I need to quit nit picking. I think you say that because you have a problem with my opinions and wish they were more in line with yours... in other words, more 'correct.' I think you need to grow out of that limited way of thinking. People are different. Accept the reality of that, with all its implications. I don't have to think like you, I don't have to share your viewpoints. I really expected you to come to my defense at least a little... the "nit picking" to which you point, in all fairness, wasn't nit picking at all.
Third: the opinions of strangers mean squat to me. Hell, sometimes it's hard for me to give the opinions of my family very much weight. The accusations made about me are common, found even in those hurling stones.
Now, you may think that comments here have been overly harse.
No, I think: "that's Larc being Larc."
I went back and read your remarks about Farkel's work on the subject of Matt. 25. Teejay, that was real, real dumb on your part. In the middle of lengthy comments following Farkel's excellent work, you choose to throw in a barb - not the way to establish credibility. It just makes you look foolish, son.
I didn't mean it that way, really. To be honest, I didn't read every word. Farkel's work, like Alan's, would have served me better had I come across them seven or eight years ago. As I mentioned, I don't read the mags anymore, and commentaries on them don't do me a bit of good. Getting to the point, I scanned through it and got what I thought was the gist of it.
The englishter suggested that I was afraid to respond. I did... to him... twice. Has he answered? I don't know... I haven't checked yet. I will shortly. You think my remarks were dumb? Cool. Whatever. At least you answered for him. I'd a thought a real man would have answered for himself, especially one who talked so bold. Of course, even you haven't answered the question I asked him. I'm not surprised. Even Larc is selective in the questions he answers. I don't blame you. I would be, too, if I were you.
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thanks all for your comments. Even you, ((((((((((((((((((((((((((((tina)))))))))))))))))))))))))). , my favorite JW.com blonde.
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50
an essay for Farkel
by teejay inlast fall, my second year of college english was based on the movies instead of classic literature.
the textbook dealt with cinematic elements (lighting, sound, camera position, etc) as the tools filmmakers use to tell their story beyond mere dialog.
the assignments involved watching clips of film, determining what the filmmaker was saying by his use of those elements, then writing full-bodied essays based on our assessments.. one of the film clips we saw was from dead poet's society.
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teejay
Last fall, my second year of college English was based on the movies instead of classic literature. The textbook dealt with cinematic elements (lighting, sound, camera position, etc) as the tools filmmakers use to tell their story beyond mere dialog. The assignments involved watching clips of film, determining what the filmmaker was saying by his use of those elements, then writing full-bodied essays based on our assessments.
One of the film clips we saw was from Dead Poet's Society. The clip is about seven or eight minutes long. It comes near the beginning of the film, when there is a flock of birds shown, and goes to the point where the class of boys stands in front of the trophy case. What follows is the essay I wrote for that clip.
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Time Flies - Seize the Day
Time flies. As the warmth of summer yields to the cold of winter, human beings are on an inescapable path to the grave. Since that is so then we must make the most of the time we have been given. This is one of the central themes of Dead Poets Society, a film directed by Peter Weir and starring Robin Williams as English teacher John Keating who uses unconventional methods to teach his students a love of poetry and a zest for life at the prestigious and ultra conservative Helton Academy, "the best prep school in America." With dialog, camera shots and sound Dead Poets Society reminds us of the brevity of life and the need to make the most of the short time we have.
First, it's with dialog that the clip makes its point clear. Keating leads the group in a brief discussion of a poem. The meaning of the words, "Gather ye rosebuds while ye may/Old time is still a-flying/And this same flower that smiles today/Tomorrow will be dying" are unambiguous. As a stand-in for the more dim-witted of us, however, one of the students offers the view that the poet was "in a hurry." Having a total lack of consciousness for the presence of death in their midst, the students reveal that they have missed the point. Perhaps we have, too. Correcting him, Keating drives home the movie's central theme: "We are food for worms, Lads. Because, believe it or not, each one of us in this room is one day going to stop breathing, turn cold and die." The thrust of the poet's words are as plain and unyielding as death itself. Finally, as the clip ends, he solemnly repeats for emphasis, "Carpe... carpe... carpe diem. Seize the day, boys. Make your lives extraordinary." Time is passing. There is not a single day to waste. Underscoring this dialog is the visual images captured by the artful use of camera shots.
The beginning of the clip uses a subtle view of a clock to symbolize the passage of time as it tolls the end of another day. Displaying a clock to denote the passage of time is cliché, yet here the director uses a shot from a low angle, forcing us to acknowledge Time's mastery over us. We look up to it. We can't accomplish anything without it. Seen from a ground-level perspective, we feel our smallness, our insignificance in comparison. The impressive size and weight of the clock tower demonstrates that Time itself is our master, constantly impacting our every move.
Later, a high shot further minimizes the individual importance of the students as it records the group as they quietly file into a foyer, almost encircling the disturbing placement of a closed casket that occupies the most significant part of the frame--"dead" center. Incredibly, this tangible symbol of the grave and Death itself, so obviously out of place, might as well be non-existent. They are scarcely aware of either's presence, being too young and vibrant to give death or the coffin a moment's reflection, betraying their disregard for death's reality. Why think about death? Their attention is fixed on Mr. Keating and today's schooling that is as hand. Yet we cannot help but notice the coffin as it dominates the center of the foyer. It's as if Death is a character on the screen, present and accounted for, speaking lines of dialog. If not before then surely now we are forced to consider one of the movie's major themes--the transience of life and the ever-present, unrelenting call of the grave.
The scene moves to its powerful climax. Keating directs the group to a trophy case that proudly displays emblems of past athletic achievement and glory and photos of former students of a bygone era. The boys in the picture do indeed eerily resemble the living, and we can be sure that Keating's words of the hopes and dreams they once entertained is also true. But as the living boys have something in common with the dead, the dead also have something the living will also unavoidably share one day--the quiet inactivity of the grave. The camera superimposes their reflection with the items inside the glass, visually uniting the two groups. They are one and the same. Seconds later, this metaphysical merge is reinforced by a haunting camera angle from within the trophy case, with its contents overlaid against the image of the boys outside it. In a tight close-up, the boys, facing the camera and us, lean in. They cock their ears as they strain to hear us. From inside the trophy case, we are dead, too, sharing the space of the boys in the photo, and the living boys get close so as to hear our legacy, the same as that of the boys, spoken by Keating: be busy about living.
Lastly, it is with sound that the film makes its point unmistakable. The clip opens with the "Gong... Gong... Gong..." of a steeple clock. Time is passing. The end of another day has come. It's the fall of the year, and a chill can almost be felt in the austere autumn scene as another year is coming to a close. The screen fills with the flapping of countless wings as a tremendous flock of birds take flight. They call to each other as they gather to migrate south for the winter. The sounds of the innumerable birds gradually builds, filling the screen with their honking sounds. It is a time of change.
As the calls of the birds fade out, unintelligible conversations fade in. We see a countless group of students moving down a spiral staircase, "flocking," as it were, like birds. Their collective, rhythmic conversations, commingling as they move from one class to the next, perfectly mimics the calls of the birds seen at the beginning of the clip. The blending of the two similar sounds--the cawking flock of birds with the din of the students as they move--suggests that as the birds are in a physical transition the metaphysical journey of the anonymous group of noisy students is about to take place. Change is in the air.
As the clip ends the lack of sound is used to poignant affect--a sound unto itself. Keating speaks in a low, raspy voice, the kind of voice one might expect to hear emanating from the grave. His voice is the only sound we hear. His words are the legacy the former students might offer if they could: "One day you'll be dead, too. Use your time wisely." The last ten seconds of the scene is "deathly" quiet. The oxymoronic sound of silence is deafening. We are forced to think about the words for what seems to be, like death, an excruciatingly long period of time. The silence is heavy and begins to overwhelm as the scene closes. The metaphoric silence transports us to the stillness of death itself.
This clip serves as an effective thesis for Dead Poets Society and as a worthy moral by which to live. Dialog, camera shots and sound are skillfully blended to remind us that life is far from permanent, and even if we fortunately escape untimely, accidental death, the inexorable passing of time will eventually bring all of us to our end. Couching this maxim in the context of a school setting is very effective, for it's when we are youngsters at school that life is at its cheapest and we take life as for granted as the clean air we breathe and the clear water we drink. We are seduced with the belief that life is endless. This movie clip reminds us otherwise.
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73
Matthew 25
by Farkel inwhen did we see you a stranger and receive you hospitably, or naked, and clothe you?
he was talking about food, clothing, shelter and supplication to the least of the brothers.
he could not be talking about anything else and here is why: could any human offer jesus spiritual food?
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teejay
english man,
I assume you didn't see the question I asked of you, so my post will serve to bring this bttt. Did I miss something in Farkel's post? Thanks.
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Thank You Ray Franz.
by Martini inhello friends,.
in a thread over at witnesses.net entitled "society bracing for law suits" fellow jw's are taking swipes at ray franz.
not too long ago, while i was still under the wt spell i also would have similarily spoken abusively of ray.
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teejay
Ginny,
I guess you didn't see my non-answer as a general disinterest in rehashing a very tired, very well-worn, very old debate. To keep Farkel from accusing ME from hijacking another of his threads--even though it was you who cut and pasted your post from this thread to his--I will say this: in mentioning what you said in the "I Gave My Word" thread, I was only making a point to Larc. I had a very good reason for doing so. I had made a comment to thewiz, Larc commented on the opinion I had voiced, I elaborated. He may not have agreed with me, but I think Larc understood. Here, on this thread, that is all that matters.
Give it a rest, Ginny. Please. Our respective opinions of each other have not changed.
tj
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Matthew 25
by Farkel inwhen did we see you a stranger and receive you hospitably, or naked, and clothe you?
he was talking about food, clothing, shelter and supplication to the least of the brothers.
he could not be talking about anything else and here is why: could any human offer jesus spiritual food?
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teejay
Englishman,
I'll tell you what I got out of Farkel's post: One of the ways that one can see that Jehovah's witnesses aren't Christian, are "un-Christian and un-Biblical," is in that they don't care for the physical needs of Christ's brothers.
Is that what you got, or did I miss something?
I don't expect you to answer my response TO YOU because, well... between me and you, we both know who the real coward is here, don't we? Chump.