User talk:Moishe Rosenbaum

Hi. Weren't you here before? Certainly I remember a similar handle doing a bit of good work, probably before the restart nearly three years ago.

You'll find quite a lot of material in 3760 articles here, particularly the Book and Annotations pages, as well as in The L-Space Web and other sites listed in Fandom. Whenever our AgProv shows up again he'll likely have ideas - a few off the top of my head:

• Comparison to Jonathan Swift, Miguel de Cervantes, discussion of parody in general; parody vs satire.

• Comparison to modern observational comics: I've always thought that George Carlin did much the same kind of work in a short, punchy stand-up format without the plotting and character development.

• Probably my favorite device of Pterry's (your wife might have a name for it) was his knack of telling a story without action words, just describing the resulting scene so that you knew what happened without explanation.

Good luck spreading the word. --Old Dickens (talk) 01:11, 12 July 2015 (UTC)

Hi, Old Dickens... You're right that I worked here a bit one summer, in the Time When Things Were Otherwise And The Moon Was Different, I suppose. Good to be back. I never thought of the Carlin comparison, but it seems apt. Thanks for the welcome, and the comments.Moishe Rosenbaum (talk) 19:53, 12 July 2015 (UTC)

A football legend called Moishe Rosenbaum.... I can see the humour here. Apparently one member of England's 1966 World Cup squad was ambiguously Jewish, and Liverpool's world dominating squad of the late 1980's boasted Israeli international Ronnie Rosenthal, whilst Tottenham Hotspur are based in the most Jewish part of North London and are nicknamed The Yids (by their own fans... they take pride in a Jewish identity of club and area) .. but that's pretty much it.... welcome back to our fellowship. The only idea that occurs off the top of my head:

• Charting the evolution of the standard "monster" types through the history of the Discworld novels. From their roots in folklore, other peoples' fantasy fiction, and perhaps in tabletop gaming. How the vampire evolves in Discworld, for instance, from versions recognisable by Bram Stoker and F.W. Murnau through Hammer Horror films (Christopher Lee), to Anne Rice's navel-gazing angst-ridden creation, to Whitley Streiber's, and on to 1990's film interpretations such as Gary Oldman's 1992 film version. The way the legend is universal and vampires are in virtually everyone's folklore - but methods for despatching them vary wildly and ridiculously, as do the powers the individual vampire can call upon. (Count Notfaratou v the Count de Magpyr v Otto Chriek v Sally von Humpeding). The idea that the blood-lust is a craving and one addiction can replace another.... and how, if taken past absurdity, everything is fair game for humour.
• You could do similar exercises for trolls, elves, golems, werewolves, et c, as presented in the Discworld. How trolls finesse the sunlight thing in a civilization which has evolved deep-freezes and barrier cream. In our world, people of different races find it hard to get along. How would a world with a dozen different sentient species work - how do they all coexist? --(Unsigned comment by AgProv, who has been away a few days and forgotten the drill, 19 Jul 2015)

Thanks, AgProv! I really like the idea of using the theme of species evolution, from trope to modern Ankh-Morporian. That would give me an excuse to dig into the folklore a bit. That's something I know a wee bit about, but not really a whole lot.

I've used this wiki to look at annotations, especially of the recent books. The old APF seemed reasonably comprehensive for older books; there seems to be plenty of room in this wiki for expansion of annotations beyond APF and what's here already. That's probably what I'll work on when I have a chance. Of course, annotations are really, really tough -- every time I dig into what seems to be a straightforward reference, I get what could be an entire research paper. So there's an idea for a course right there. Sure, the Beverly Hills Cop scene in Men at Arms couldn't be more obvious, but what if anything is the historical basis for Moist von Lipwig? And who are all the roundworld characters amalgamated into William de Worde? Usually, the simplistic answer is too simplistic.

I got myself a hard copy of Brewer's Dictionary of Phrase and Fable, which Sir Terry said he used extensively. He wrote the introduction to the edition I have. Between that, The Folklore of Discworld, this wiki, and just the general internet, there seems to be all sorts of background information on the Discworld species, and how Pratchett uses and references them. Do youall know of any other specific sources I should be aware of?

And Moishe owns a fantasy *american* football team, i.e. Robot Rugby. That said, I'm spending August in London with my family on sabbatical. I'm going to spend a good bit of time digging into (English) football culture, attending games, touring grounds, etc. When I broadcast baseball and american football, I'm drawing on three-plus decades of experience listening to and watching games. I've only been following association football carefully since 2011 -- haven't missed watching more than a couple Arsenal games in that time. So I think Moishe is going to have to deal this season with a new co-owner, one who doesn't understand why the referee is dressed like a Newcastle supporter, and why he doesn't hand out red cards for some of those bone-crunching tackles. Thanks for the comments and ideas!Moishe Rosenbaum (talk) 16:57, 19 July 2015 (UTC)

Hi Moishe! In agreement on Annotations. I've been re-reading Monstrous Regiment and found a couple of obvious ones that I'd missed the last time I picked the book up - every time I come back with a fresh eye, there's always more. Which is a tribute to the depth of Terry Pratchett's original vision. I realised with the thing about "the barefoot army" that there's a lot to be mined from historical accounts of armies pushed past the point of desperation, but still fighting - when a country is running on empty, but still refuses to give up. The thing about the Confederacy (no boots, but they were potentially in ample supply let down by inter-State bickering and bad supply) was just the beginning of it and I could have gone on for paragraphs more - an example of one little throwaway line opening up a thesis. Which is also part of the Pratchett genius - how he must have read thousands of words on a fringe topic but condenses it all down into six or seven words of telling detail. Some of my annotations make the association, then waffle on in proving it and adding detail.... the thesis is there, in IKEA self-assembly form.

Taking the "barefoot army" throwaway line - on the surface it concisely describes an Army at its last gasp which has run out of everything but is still adamant in refusing to surrender. But that's not all there is to it, when you read about one state in the Confederacy that easily made enough footwear for every Confederate soldier and then some over - but refused to issue them beyond their own State. And about a chaotic supply system incapable of getting kit where it was needed - the Confederacy also had ample artillery that was just parked up doing nothing a long way from the front lines. Things have a surface level, then a level beneath that, then a third stratum of reference... There's a story about the British Army general who read Monstrous Regiment, and demanded to know how somebody who has never been in the Army could write such an accurate book, full of all the little telling details only squaddies are supposed to know. Terry replied that to his best knowledge, Homer had never been a hoplite or gone to war with a Greek army - he just did his research, and asked people who had. Then wrote the Iliad.

On characters and monsters: take a look at British Isles folk music. Steeleye Span, for instance, one of Terry's great musical influences. You could discuss the philosophical and gender differences between witches and wizards - then play them the Span's take on the old ballad, The Two Magicians. This one song runs right through Equal Rites and fuels one climactic scene. Seven Hundred Elves is about Elves as they really were and are seen in Lords and Ladies. (touches iron). Long Lankin is a ballad about a mediaeval psychopathic killer. When you listen to it, you know why one Elf gets called Lankin. The Span do Scottish stuff too as well as English. Parcel of Rogues is tinged with Feegle-speak. And, more crucially, with Feegle-think.

Remembering to sign off with my name - I'm too used to tvtropes formatting, it's spoiling me for here! AgProv (talk) 00:02, 20 July 2015 (UTC)