Our Master (saw) Part II (original) (raw)
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Al-Nahal, 2010
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ArtiFacts: Richard Satterlee's Bone Saw
Clinical Orthopedics and Related Research, 2017
George Tiemann & Co also had a reputation for creating innovative surgical instruments. One such instrument was an amputation saw with a pistol grip handle, designed by Edward Pfarre, an instrument maker and partner in the company. Many of the smaller surgical kits included a backsaw with the Pfarre handle. This design was marketed under a variety of names after the Civil War until it became widely identified as ‘‘Satterlee’s Saw’’. The curious thing about the Satterlee Saw was that it was neither designed by Satterlee nor specified by him. The saw, marketed by Tiemann as ‘‘Pfarre’s Amputating Saw’’ in 1872, was described as ‘‘Satterlee’s Capital Saw’’ 5 years later.
Jones, S. (2010) "Time is Wasting': Con/sequence and S/pace in the Saw Series", Horror Studies, 1:2.
Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations.
The evil that men do... Introduction to THE CUTTING EDGE
in THE CUTTING EDGE: STUDIES IN ANCIENT AND MEDIEVAL WEAPONRY (edited by B.P.C Molloy)
introduction It is nearly three thousand years since Homer wrote of the epic war between the Greeks and the Trojans; that mighty struggle of heroes and gods in an age of raw passions and brutish short lives. The tide of battle was led by great champions, smiting lesser men by the dozen and rising to a crescendo as one hero faced another in bloody fracas where only one man was left alive. Whether these tales are true or myth, they celebrate flamboyantly deeds of valour and renown by great warriors. Even death itself on the field of battle brought prestige and praise. We can see in them the promotion of the masculine paradigm as a skilled and respected warrior, facing down death without compunction. It does not matter if these represent real people, it is immaterial if they are purely works of an ancient imagination; what is of fundamental importance is the belief within them and amongst their audiences of 'the way of the warrior'. This masculine warrior ideal can be traced throughout the millennia of recorded history, and stretches back further still into the world of prehistory.