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	<title>English @ SUNY Geneseo | Nathan Barr | Activity</title>
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				<title>Nathan Barr posted a new activity comment</title>
				<link>https://sunygeneseoenglish.org/activity/p/8261/#acomment-8262</link>
				<pubDate>Thu, 20 Apr 2017 23:04:22 -0500</pubDate>

									<content:encoded><![CDATA[<p>I would like to comment on two aspects of your engaging analysis of The Silence of the Lambs.  The first concerns Lector’s status as villain or antihero.  You correctly recognized that Lector is not the main villain of the film nor are we, the audience, supposed to view him as such.  Instead, we, like Clarice, are fascinated by Lector: by his i&hellip;<span class="activity-read-more" id="activity-read-more-8262"><a href="https://sunygeneseoenglish.org/activity/p/8261/#acomment-8262" rel="nofollow ugc">[Read more]</a></span></p>
				<strong>In reply to</strong> -
				<a href="https://sunygeneseoenglish.org/members/nab15/" rel="nofollow ugc">Nathan Barr</a> joined the group <a href="https://sunygeneseoenglish.org/groups/film-talk/" rel="nofollow ugc">Film Talk</a>			]]></content:encoded>
				
				
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				<title>Nathan Barr joined the group Film Talk</title>
				<link>https://sunygeneseoenglish.org/activity/p/8261/</link>
				<pubDate>Thu, 20 Apr 2017 23:03:53 -0500</pubDate>

				
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				<title>Nathan Barr posted a new activity comment</title>
				<link>https://sunygeneseoenglish.org/activity/p/8244/#acomment-8245</link>
				<pubDate>Tue, 18 Apr 2017 15:21:20 -0500</pubDate>

									<content:encoded><![CDATA[<p>Nietzsche and Animal Imagery in The Silence of the Lambs<br />
Two images, one visual and one verbal, in Jonathan Demme’s The Silence of the Lambs reference, I believe, an extended metaphor from the first essay in Friedrich Nietzsche’s The Genealogy of Morality.  The first is the hawk, seen when Clarice Starling crosses the first threshold by ent&hellip;<span class="activity-read-more" id="activity-read-more-8245"><a href="https://sunygeneseoenglish.org/activity/p/8244/#acomment-8245" rel="nofollow ugc">[Read more]</a></span></p>
				<strong>In reply to</strong> -
				<a href="https://sunygeneseoenglish.org/members/nab15/" rel="nofollow ugc">Nathan Barr</a> joined the group <a href="https://sunygeneseoenglish.org/groups/film-talk/" rel="nofollow ugc">Film Talk</a>			]]></content:encoded>
				
				
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				<title>Nathan Barr joined the group Film Talk</title>
				<link>https://sunygeneseoenglish.org/activity/p/8244/</link>
				<pubDate>Tue, 18 Apr 2017 15:20:37 -0500</pubDate>

				
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				<title>Nathan Barr posted a new activity comment</title>
				<link>https://sunygeneseoenglish.org/activity/p/8201/#acomment-8202</link>
				<pubDate>Mon, 10 Apr 2017 20:43:23 -0500</pubDate>

									<content:encoded><![CDATA[<p>Wit and Truth?<br />
Through Vivian’s fourth-wall breaks, Nicholas’ Wit constantly draws audience attention to the narrative discourse, the sjuzhet, of an otherwise simple story: her battle with cancer and death.  This technique creates an intimacy with the character.  But it also helps reveal the contrast between reality and representation which Viv&hellip;<span class="activity-read-more" id="activity-read-more-8202"><a href="https://sunygeneseoenglish.org/activity/p/8201/#acomment-8202" rel="nofollow ugc">[Read more]</a></span></p>
				<strong>In reply to</strong> -
				<a href="https://sunygeneseoenglish.org/members/nab15/" rel="nofollow ugc">Nathan Barr</a> joined the group <a href="https://sunygeneseoenglish.org/groups/film-talk/" rel="nofollow ugc">Film Talk</a>			]]></content:encoded>
				
				
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				<title>Nathan Barr joined the group Film Talk</title>
				<link>https://sunygeneseoenglish.org/activity/p/8201/</link>
				<pubDate>Mon, 10 Apr 2017 20:42:56 -0500</pubDate>

				
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				<title>Nathan Barr posted a new activity comment</title>
				<link>https://sunygeneseoenglish.org/activity/p/8139/#acomment-8140</link>
				<pubDate>Mon, 27 Mar 2017 19:36:26 -0500</pubDate>

									<content:encoded><![CDATA[<p>Reading Artistotle’s Poetics in preparation for today’s class made me more aware of a potential problem in translating Piers Paul Read’s Alive to film: the episodic nature of the Fairchild survivors’ experiences.  Their experience required them to adapt to a surreal routine: melting snow, preparing flesh, going to the bathroom, treating wounds,&hellip;<span class="activity-read-more" id="activity-read-more-8140"><a href="https://sunygeneseoenglish.org/activity/p/8139/#acomment-8140" rel="nofollow ugc">[Read more]</a></span></p>
				<strong>In reply to</strong> -
				<a href="https://sunygeneseoenglish.org/members/nab15/" rel="nofollow ugc">Nathan Barr</a> joined the group <a href="https://sunygeneseoenglish.org/groups/film-talk/" rel="nofollow ugc">Film Talk</a>			]]></content:encoded>
				
				
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				<title>Nathan Barr joined the group Film Talk</title>
				<link>https://sunygeneseoenglish.org/activity/p/8139/</link>
				<pubDate>Mon, 27 Mar 2017 19:35:16 -0500</pubDate>

				
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				<title>Nathan Barr edited the blog post Context in the group Irish Studies</title>
				<link>https://sunygeneseoenglish.org/activity/p/7711/</link>
				<pubDate>Thu, 15 Dec 2016 17:41:25 -0500</pubDate>

									<content:encoded><![CDATA[<p>The following pages titled ‘Political Melodramas’, ‘Literary Revival’, and ‘Musicals’ are the least conceptually ambitious on this site.  They aim to provide a basic historical and literary background for the plays discussed later on.  They also offer a vertical route for exploring other pages.  For instance, ‘Literary Revival’ leads to analyses&hellip;<span class="activity-read-more" id="activity-read-more-7711"><a href="https://sunygeneseoenglish.org/activity/p/7711/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Nathan Barr edited the blog post Identity and Political Melodramas in the group Irish Studies</title>
				<link>https://sunygeneseoenglish.org/activity/p/7693/</link>
				<pubDate>Wed, 14 Dec 2016 20:23:44 -0500</pubDate>

									<content:encoded><![CDATA[<p><a href="http://irishstudies.sunygeneseoenglish.org/wp-content/uploads/sites/6/2016/12/a_dublin_famine_irish_monkey2-1.jpg" rel="nofollow ugc"><img loading="lazy" src="http://irishstudies.sunygeneseoenglish.org/wp-content/uploads/sites/6/2016/12/a_dublin_famine_irish_monkey2-1-248x300.jpg" alt="a_dublin_famine_irish_monkey2" width="248" height="300" /></a> <a href="http://irishstudies.sunygeneseoenglish.org/wp-content/uploads/sites/6/2016/12/stage-irishman-1.jpg" rel="nofollow ugc"><img loading="lazy" src="http://irishstudies.sunygeneseoenglish.org/wp-content/uploads/sites/6/2016/12/stage-irishman-1-208x300.jpg" alt="stage-irishman" width="208" height="300" /></a></p>
<p>&nbsp;</p>
<p>Popular Irish melodramas from the Victorian and Edwardian periods were formulaic.  One-dimensional characters populate a picturesque emerald landscape dotted with ruins and sheep, a landscape deeply engrained in the Irish collective consciousness.  A noble yet forgettable hero falls in love with a devoted, self-sacrificing beauty while h&hellip;<span class="activity-read-more" id="activity-read-more-7693"><a href="https://sunygeneseoenglish.org/activity/p/7693/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Nathan Barr became a registered member</title>
				<link>https://sunygeneseoenglish.org/activity/p/7554/</link>
				<pubDate>Wed, 02 Nov 2016 19:03:34 -0500</pubDate>

				
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