Eye Of The Beholder


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The sixth sentence was remarkable because it took the form of class notes and made my absence a parenthetical afterthought. It focused on my actions, yet did not present me as the subject of any of the four verbs used. It demonstrated that even when the stimuli are constant and scarcely worthy of remark, normal human beings represent them in language and record them in infinite numbers of ways through original sentences they have never heard, read, or said before. That time, it was a prelude to interpreting Kurosawa's Rashomon.

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I used the exercise to illustrate the problematic nature of historical accounts, since all written documents have authors with personal outlooks, pointed views, and even "axes to grind. I used it again at Albion in the translation workshop, where I wanted to drive home the point that no students working separately would produce the same translations of a specific text. There were few students in the college classes where I used the exercise. As a result, we could examine, explicate, and evaluate each sentence in a single session.

There were about students in Professor Becker's class at the University of Michigan when he presented this exercise. The class lasted for an hour and twenty minutes; we were able to comment on only about twenty of the sentences handed in. In high school classes of 25 or more, it might be best for the teacher to ask students to read their sentences, note perhaps five or six that were radically different from each other, and have the students write them on the blackboard.

Then, either in groups or together, the class could analyze each sentence. Exercise 2 lists issues that students could address. Exercise 2 1. From this sentence, could a person who was not present know what happened, or where, why, or when the event took place? What would someone understand from this sentence reading it out of context? Does the sentence reflect biases or a personal interpretation of the event? If so how? Be specific.

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As witnesses to the event, what does your group feel the sentence needs to make it an adequate account of what you saw? Rewrite the sentence so that it is an adequate account of the event. Once the sentences have been discussed, analyzed, and revised, the class can be introduced to the questions asked in Exercise 3.

Exercise 3 1. What did all the sentences have in common? Why were they all different? Are the rewritten sentences also different from one another? The angry teacher scuffled across the room, and plopped his sorry self down on the desk. The teacher slammed the door. The people are clueless.

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What is going on with our usually sane teacher and his door-slamming antics? The teacher is here today. The door did slam-accidentally, because of a draft-but the writer of the first sentence assumed that I was angry, and portrayed my walking as laborious I would own up to "shuffling" across the room. And he had me sitting on my desk as if I were an object in need of repair. He included three parts of the event, though he did not explicitly mention the slamming of the door; he did not record the students' writing, my touching the papers, and my surveying the classroom.

The second sentence, from another student, merely recorded the slamming of the door and my presumed responsibility. The student who wrote the third sentence attributed confusion to the class but did not state the source of their confusion. The fourth sentence suggested a student's confusion, the presence of others "our. The fifth sentence, an understatement, left out all the action, the context, and any interpretation. The sixth sentence was remarkable because it took the form of class notes and made my absence a parenthetical afterthought. It focused on my actions, yet did not present me as the subject of any of the four verbs used.

It demonstrated that even when the stimuli are constant and scarcely worthy of remark, normal human beings represent them in language and record them in infinite numbers of ways through original sentences they have never heard, read, or said before. That time, it was a prelude to interpreting Kurosawa's Rashomon.

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I used the exercise to illustrate the problematic nature of historical accounts, since all written documents have authors with personal outlooks, pointed views, and even "axes to grind. I used it again at Albion in the translation workshop, where I wanted to drive home the point that no students working separately would produce the same translations of a specific text.


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There were few students in the college classes where I used the exercise. As a result, we could examine, explicate, and evaluate each sentence in a single session. There were about students in Professor Becker's class at the University of Michigan when he presented this exercise.

The class lasted for an hour and twenty minutes; we were able to comment on only about twenty of the sentences handed in. In high school classes of 25 or more, it might be best for the teacher to ask students to read their sentences, note perhaps five or six that were radically different from each other, and have the students write them on the blackboard. Then, either in groups or together, the class could analyze each sentence.

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Exercise 2 lists issues that students could address. Exercise 2 1. Something evil is lurking below the city of Waterdeep.


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  • The Lords of Waterdeep summon a group of heroes to investigate, but someone or something has been watching the proceedings. After the heroes enter the sewers, the ceiling collapses behind them. The only way out is the way down, into a dungeon filled with monsters, traps and puzzles.

    Eye of the Beholder by Metallica

    The starting party consists of four characters and up to two NPCs can join later. Combat and magic happen in real time, similarly to Dungeon Master. There is a variety of monsters to fight and spells to cast.

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