Danz uses this trick because were he to say, "I'm an ocularist," (pronounced ock-u-LAIR-ist), people would probably assume he was a doctor of some sort. ( . . . ) And if he said, "I make prostheses," which is the technical term for the eyes, people might envision him working in a plastic appendage factory, fashioning fake arms. Then again, if he said he made glass eyes, the best-known term for the prostheses, it would be incorrect on two accounts. First, the prostheses are no longer made of glass ( . . . ). Second, they aren't actually entire eyeballs, but rather concave acrylic shells that fit on top of the eye muscle ( . . . ) sort of like a bike helmet over a child's skull.
"People say, 'You have to look in eye sockets.' Well, I think there can be beauty in an eye socket. If the surgeon was good and there's good tissue in there, it can be beatutifu."
( . . . ) It occurred to me that if one were to design a litmus test for whether someone had found a calling, this could serve as it, in one easy question: do you see beauty in the details of your work?
I met, among others: ( . . . ); Claudette an African-American Pentecostal minister who, prior to coming into the office, had been preaching enthusiastically, unaware that she'd put in her eye upside down (the parishioners, Claudette, recounted, thought she'd really channelled the holy spirit on that day); ( . . . ) . Danz greeted each like a friend. With the help of a Polaroid--he snaps one of every patient--he says he can remember almost everyone he's ever worked on. "I feel like once I make a prosthesis for someone, I become part of their life," he told me in a rare moment of emotional analysis. "And they become part of mine."
The Butterfly Hunter: Adventures of People Who Found Their
True Calling Way Off the Beaten Path
by Chris Ballard Paperback: Broadway Books, 2007/04 Hardcover: Broadway Books, 2006/04
Timewatch - Voices of Victorian London - Coster Man
Uploaded by sistermiller on Apr 24, 2008. This is a depiction of the real interview that Henry Mayhew did with a Costermonger in the Nineteenth century. It clearly shows how the normal man thought about things in they day's.
Timewatch - Voices of Victorian London - Mary, A Coster Girl
Uploaded by sistermiller on Apr 25, 2008. This video is based on an actually interview made in the nineteenth century by Henry Mayhew of a sprout girl in London. It highlights the low level of education of the working person in that era. This extract was taken from a tv series called "Voices of Victorian London" which was on in 1996 and was acted by Sara Stephens.
上の本は、最近出たつぎの本の中で、たびたび引用されています。 b. トニー・ロビンソン＋デイヴィッド・ウィルコック＝著
『図説「最悪」の仕事の歴史』 原書房 2007/09
c.The Illustrated Mayhew's London: The Classic Account of
London Street Life and Characters in the Time of Charles Dickens
and Queen Victoria.
Written by Henry Mayhew, Edited by John Canning,
Introduced by Asa Briggs.
London: Weidenfeld & Nicolson, 1986.
Many a girl -- nearly all of them -- goes out into the streets from this penny and twopenny house, to get money for their favourite boys by prostitution. If the girl cannot get money she must steal something, or will be beaten by her 'chap' when she comes home. I have seen them beaten, often kicked and beaten until they were blind from bloodshot, and their teeth knocked out with kicks from boots as the girl lays on the
ground. The boys, in their turn, are out thieving all day, and the lodging-house keeper will buy any stolen provisions of them, and sell them to the lodgers. I never saw the police in the house. If a boy comes to the house on a night without money or sawney, or something to sell to the lodgers, a handkerchief or something of that kind, he is not admitted, but told very plainly, 'Go thieve it, then.' Girls are treated just the same.
Statement of a Prostitute e. London Labour and the London Poor, Volume 1
by Henry Mayhew
First published in book form (three volumes) in 1851.
This book derives from a series of articles (which began in 1849)
in The Morning Chronicle newspaper.
(2) tomoki y. 2008
Развивающаяся цивилизация представлялась ему в виде беспорядочного нагромождения материала, который в конце концов должен обрушиться и задавить строителей. Но если это и так, все же нам ничего не остается, как продолжать жить. Для меня будущее неведомо, полно загадок и только кое-где освещено его удивительным рассказом.
下に引用する箇所は 13:43 あたりから始まります。 Excerpt below starts around 13:43.
■英語原文 The original text in English
He, I know ( . . . ) thought but cheerlessly of the Advancement of Mankind, and saw in the growing pile of civilization only a foolish heaping that must inevitably fall back upon and destroy its makers in the end. If that is so, it remains for us to live as though it were not so. But to me the future is still black and blank--is a vast ignorance, lit at a few casual places by the memory of his story.
(9) 塩谷 1972, 1979, etc.
Ｈ・Ｇ・ウェルズ＝著 塩谷太郎（しおや・たろう）＝訳 a. 『タイムマシン』 今井修司＝さし絵 ＳＦ名作コレクション2 岩崎書店 2005/10 b. 『タイムマシン』 ＳＦロマン文庫 岩崎書店 1986/01 c. 『タイムマシン』 岩淵慶造（いわぶち・けいぞう）＝画 フォア文庫
岩崎書店 1979/10 d. 『タイム・マシン』 岩淵慶造＝絵 ＳＦ少年文庫21 岩崎書店 1972 a. の底本は d.。引用は a. に拠りました。
(10) 石川 1966, 2002
Ｈ・Ｇ・ウェルズ＝著 石川年（いしかわ・ねん）＝訳 a. 『タイムマシン』 角川文庫 2002/06 b. 『タイム・マシン 他六篇』 角川文庫 1966/12 a. は b. を一部改題し、再文庫化したもの。引用は a. に拠りました。