Lesson 8 Are all works of art equally important?

Lesson 8 Are all works of art equally important?

-Significance and value judgment of works of art

I. teaching material analysis

(A) Teaching objectives

Theoretically speaking, once any artistic work is produced, it no longer belongs to the artist, but to the whole society or audience, so different artistic works will have differences in meaning and value in the eyes of different societies and audiences. Last class, we talked about the importance of understanding the artist's creative intention. What this class wants to explain is that the artist's creative intention is only one aspect of our understanding of works of art, not the only one, or it can provide some reference for us to understand works of art, and works of art need our audience to give us their own explanations. Therefore, the teaching purpose of this course is to make students realize that the meaning and value of works of art have both absolute and relative aspects. Active participation is the premise and guarantee of art appreciation. Only in this way can we improve our artistic appreciation ability and cultivate our aesthetic vision.

(B) the content structure

This lesson mainly includes four parts.

The first part begins with the story of China ancient painters Ma Yuan and Xia Gui. As an introduction, this part points out their contribution in the history of China's fine arts, but the Ming emperors gave different explanations, indicating that the appreciation of fine arts not only needs to understand the artist's intention, but also needs the audience's judgment on its significance and value.

The second part, "The Times and Regionality of Works of Art", tells the relationship between the meaning and value of works of art and the times and regions where they came into being, that is, their production was limited by the times and regions at that time, and their understanding was closely related to them. Here is an example of Luo Zhongli's "father". This can be understood by combining the artist's creative intention described in the last lesson.

The third part "How to judge the meaning and value of works of art?" Taking three David statues created by three sculptors in different periods in western history as examples, this paper further illustrates the relationship between the significance and value of artistic works and the times and regions, and points out that the significance and value of artistic works have both absolute and relative aspects. This paper also puts forward the problem of artistic innovation, mainly from the aspects of understanding the significance and value integrity of artistic works. Because this problem is more complicated, it is not carried out, but only as a reference in teaching.

The fourth part is "How to treat the differences in meaning and value judgment of works of art?" This part emphasizes the importance of personal feeling and judgment, and gives different angles and methods to judge the meaning and value of artistic works. These angles and methods tell us that the meaning and value of works of art are not static, but can be understood at all levels, and each level is a part of the meaning and value of works of art. This explanation is of positive significance to students' active participation in art appreciation. But at the same time, it also points out that despite these different angles and methods, the works of art themselves are still the basis for us to judge the meaning and value.

(C) the focus and difficulty of teaching

There are two key points in the teaching of this course: 1. Make students understand that the meaning and value of artistic works are closely related to the times and regions, that is, both the formation of this meaning and value and the ability and scope of artistic works to produce meaning and value are limited by their times and regions; 2. Make students understand that there are different angles to judge the meaning and value of works of art, that is, they can look at and understand the meaning and value of works of art from different angles.

The difficulty in teaching this course is that the meaning and value of a work of art have both absolute and relative aspects. Accurately judging the meaning and value of a work of art involves many factors, and it is not easy to accurately grasp the relationship between them in teaching, which needs attention in teaching. In addition, judging the meaning and value of art works from various angles is easy to make students have the illusion that art works can be understood at will, which is wrong and needs teachers to pay attention to correcting in teaching.

Second, the teaching content information

(A) analysis of works

A Tour of Little Snow Mountain (Chinese Painting) (Song Dynasty)

Ma Yuan's ancestral home was in the middle of the river (now Yongji County, Shaanxi Province) and he was born in Hangzhou. He was born in a painting family and is now the fourth generation. He was a painter in Guangzong, Ningzong and Li Zongsan Dynasties. Like his ancestors, Ma Yuan is an all-round painter who combines landscapes, figures, flowers and birds, and miscellaneous paintings, and is unique in painting. His landscape paintings have the highest achievement and the greatest influence, because the composition of his paintings often puts the real scene in a corner of the picture, so it is called "Horse Horn". But in addition to a close-up of a corner, he also has a panoramic view, and he has also played his all-round advantages. His works are sometimes combined with flowers and birds, landscapes, figures and landscapes, and sometimes with figures, flowers and birds and landscapes, which are extremely rich and diverse.

Quiet fishing flute (Chinese painting) Xia Gui (Song)

They have always been called "Ma Xia" in the history of painting, because their painting styles are really very similar. The difference is: Ma Yuan is more expensive, and Xia Gui is more spontaneous; Ma Yuan painted more tightly, while Xia Gui painted more in Matsuno. In addition, Xia Gui uses ink more dripping.

Xia Gui, a native of Qiantang, is a little later than Ma Yuan. He was in Ning Zong and Li Zong dynasties, waiting for a letter to the Painting Academy. Although his generation is late, its reputation is not low. There are ten people in imperial academy, and Xia Gui is one of them, enjoying the same treatment as Su Hanchen, Lin Chun, Li Di and Ma Yuan. There are many traces of Li Tang in his early years, and he gradually formed his own style after middle age. In terms of layout, he likes to concentrate the scenery on one side, or the lower half or around, showing a sense of space, which is called "Xia Banbian". The style of his later years is more concise and bold. As Dong Qichang pointed out, Xia Gui also absorbed the ink method of Mi Jiashan's water. He was dizzy with splashing ink, and then contaminated Jiao Mo with a bald pen. The brushwork is flexible and changeable, and the dots, short lines, small axes and large axes are used alternately, and the shades are alternating, and the clouds are light and the wind is light.

Father (oil painting, 240cm× 160cm, 1980, China Art Museum) Luo Zhongli.

Luo Zhongli (1948—) was born in Bishan County, Sichuan Province. 1964 was admitted to the middle school attached to sichuan fine arts institute. After graduation, I lived in Dabashan, Sichuan for 10 years. 1978 was admitted to sichuan fine arts institute, where he created the oil painting Father. Based on his years of working and living experience in Sichuan mountainous areas, and drawing lessons from the realism of western modernist art photography, he created an image of an industrious, simple, kind and poor old farmer in the form of a huge leader. His bronzed face, ruts left by long and hard years, hands raking firewood and toothless mouth are full of the painter's deep feelings and deep reflection on this reality, thus arousing people's deep concern about reality, especially the fate of farmers. Because of this, the public exhibition of this work immediately aroused strong social repercussions, and it is one of the most influential works of art since the founding of New China.

The Last Supper (oil painting, 365cm× 568cm, 1592— 1594, Venetian Saint Qiao Erqiao? Tintoretto (Italian).

Tintoretto (1518-1594) is regarded as a stylist in the late Renaissance. "Tintoretto" is not his real name, because he was born in a family of Dale, so he got the nickname (meaning Dale). He is an ambitious man, threatening to combine the color of Titian with Michelangelo's figure to become the greatest master of art. In order to achieve unique artistic effects, he always chooses angles and compositions rarely used by others in his creation, pursues grand charm, strong drama and outstanding light sense, and ignores the portrayal of characters' inner temperament and personality, mainly starting from the picture effect.

The Last Supper is a traditional biblical theme, which has been painted by many painters in different periods. Tintoretto himself painted as many as seven or eight. Tintoretto's The Last Supper was written in 1547, and is now in the Venetian San Marco La Church. However, the three paintings completed during the period of 1565- 1594 are the most famous (the first one is in St. trova's Church, the second one is in Santirocco Guild, and the third one is this one). As far as the uniqueness of the idea is concerned, this painting is bolder than any other one. Here, although the human body movements are still reversed and the picture is still full of strong mythology, the relationship between Jesus and 12 disciples is very rhythmic. The diagonal composition with a sense of movement and the strong contrast between light and shade give people a strong visual and psychological impression. The word 12 on the table is disturbed by a sentence from Jesus-"One of you is going to betray me", and the dynamic performance is different. In addition, the fantastic skylight and cloud light source in the upper left corner give this scene a fabulous stage effect.

The painter ingeniously arranged the Last Supper in a vertical perspective, and the audience seemed to be standing at the door or standing at a height on one side of the scene. All the actions of the characters are grouped, busy and narrative. According to Italian art historian vasari's comments on Tintoretto's paintings, "He not only works fast, but also has rough brushstrokes in his works, making it impossible to see whether his paintings have been completed." This is by no means to say that his paintings are technically rough, but the result of his pursuit of light and movement with brushwork. He prefers to use warm colors, but his warm colors do not pursue luxuriance, and the light and shade in warm colors are to strengthen the psychological factors of characters. This painting style was later appreciated by French impressionists in the19th century, who copied his painting method and absorbed the expressive effect of this light and shadow.

The Last Supper (mural, 484 cm× 880 cm, 1495— 1497, Santa Maria, Milan? Derlager hin monastery)? Finch (Italy)

Leonardo? Da? Leonardo da Vinci (1452- 15 19) was the most outstanding painter, scientist and inventor in Italy during the Renaissance. Few paintings have been completed in his life, but almost all of them are immortal. His works have a distinct personal style from beginning to end, and he is good at combining artistic creation with scientific exploration, which is profound, implicit and rational. He devoted himself to scientific research in his later years, leaving a lot of notes, manuscripts and sketches, covering almost everything from physics, mathematics to physiological anatomy. His technical inventions are also found in civil, military, engineering and mechanical fields. Therefore, Engels praised him: "He is not only a great painter, but also a great mathematician, mechanic and engineer. He has made great discoveries in various departments of physics. "

The mural "The Last Supper" is Da? Finch is Santa Maria of Milan? Derlager Xin Monastery Restaurant. It is not an ordinary wet mural, its surface is gray, but it is mixed with some oil paints, so some art history books don't call it a mural, but label it as "oil egg pigment". Because this is an immature new attempt, the original painting gradually faded and moldy from the16th century, and now it is blurred because of poor preservation by later generations. At present, the relevant parties are trying to repair it with modern technology, but the progress is slow.

The Last Supper is based on the legend in the Christian Bible that Jesus was betrayed by Judas, one of his 12 disciples. It was named after Jesus' last dinner with his saints before his arrest in Jerusalem. From the Middle Ages to the Renaissance, religious paintings with this theme were constantly created and formed a set of stylized expression techniques. Da? Finch's works have become immortal masterpieces with their originality, excellent composition and profound psychological description of characters. Da? In this work, while having dinner with disciple 12 * *, Finch firmly grasped Jesus and suddenly said, "One of you is going to betray me." After that, all the disciples suddenly appeared in various expressive moments, focusing on depicting the inner world of each character, expressing the painter's clear love, hate and hatred for the noble and despicable good, evil, beauty and ugliness, and then the subtle psychological description of the characters reached an unprecedented level. The composition of the whole painting is perfect: the picture of the banner is centered on Jesus and forms a strictly symmetrical composition. 12 disciples have close ties, diverse postures and rich unity. In addition, in the processing of picture space and background, a far-reaching space is drawn by perspective method. All these make this work a world-famous masterpiece.

David Donatello (bronze sculpture, height 126cm, 1443- 1444, Florence National Art Collection) (Italy)

Donatello (1386— 1466) was one of the most outstanding sculptors and one of the important pioneers of realistic art in the early Italian Renaissance. David is his important work and the first nude human sculpture in the Renaissance. It marks the restoration of the body art tradition in Greece and Rome. The image of David comes from the legend of the Bible, which is the common theme of European Renaissance artists. Legend has it that David, the king of ancient Jews, was famous for his skill of throwing stones to kill Goliath when he was a teenager. Donatello's David shows the joy and pride of victory when young David steps on the giant's head after killing a man. David's image is not only accurate in proportion to the human body, but also beautiful and smooth in lines, which shows Donatello's superb skill in shaping the human body.

David (sculpture, height 250 cm,1501-1504, collected by Florence Academy of Fine Arts) Michelangelo (Italy)

Is Michelangelo Jida? After Finch, he was another master in the heyday of the Renaissance. When he was a teenager, he entered the famous "Medici Garden", where he received art training and was exposed to a large number of ancient art treasures collected there. He doesn't look like dad? Finch is full of scientific spirit and philosophical thinking, but persistently pursues the embodiment of human spirit and human strength in art. His artistic style is magnificent, with strong feelings and strong tragic colors.

David of Michelangelo is a young giant with great boldness of vision. He stood there calmly, holding the slingshot on his shoulder with his left hand, holding his head high and staring at the enemy warily. His brow is full of confidence in winning. The sculptor's almost static posture effectively conveyed the high tension before the war and the great power hidden in David.

David (sculpture,1623 ——1624) Benigni (Italy)

Benigni (1598— 1680) was born in Naples. He is a great sculptor and architect, and also the most famous Italian Baroque artist in17th century. Benigni was brilliant and ingenious from an early age. He started carving works at the age of 8, and showed his talent very early and won a reputation. Under his chisel, marble seems to become as soft and plastic as soil. His sculptures are full of passion, strong movements, whirlwind power, sense of movement and drama.

Benigni's David is a struggling David, which seems to be more in line with real life. His David is more like a persevering soldier in adversity. In this state, artists can express the whirlwind movement of the human body and the strong feelings of the characters. The sense of movement is the core theme of baroque art.

Hard years (sculpture, height 100 cm, 1957, China Revolutionary Military Museum) Pan He.

Pan He (1925-) was born in Guangzhou. Professor, Sculpture Department, Guangzhou Academy of Fine Arts. 1940 began to engage in artistic activities. 1957 Created the representative work Hard Years for China Revolutionary Military Museum. In this work, Pan He truly reproduces the image and mental outlook of the Red Army in the "hard years" of the Long March: the thick sternum left by broken military hats and uniforms, barefoot and hard life, such as an antique flute on a reinforced finger, chapped lips lightly sticking to the flute hole and playing melodious music happily; The rough skin on his face stretched out and a knowing smile appeared on his mouth. The deep ditch on the forehead stores the sufferings formed in the hard years-this is the veteran image in Pan He's sculpture "Hard Years". And a little red army with a childish face curled up beside him, holding a pike in one hand and chin in the other, listening to the wonderful flute, smiling and daydreaming, exiled in the infinite sky, looking forward to the future ideal. This image has transcended individuality and become a spiritual symbol of an era.

Piping Boy (oil painting, 16 1cm× 97cm, 1866, Paris Impressionist Art Collection) MANET (France)

Manet (1832-1883) was born in a big bourgeois family in Paris. His father is a judge, so he received a good education. He thinks highly of himself, hates all conservative and backward things, and pursues progress and revolution. But Manet didn't have the revolutionary spirit as thoroughly as Courbet, but he still had some reservations, which was also reflected in his later art. He didn't engage in art from the beginning. At first, his parents hoped that he would study law or enter the naval school, but he failed in both exams, so he became a trainee sailor on the ship. On a trip to Brazil, he was deeply attracted by the beauty of nature. After returning to China, he persuaded his parents to enter the studio of the classical painter Kutuyer as a student at 1850. When he left Kutour's studio on 1856, he was already a painter with solid traditional kung fu, which was shown in his Guitarist and Manet Couple, which were first exhibited in the salon of 186 1. But Manet was more interested in the works of contemporary painters, especially the bold authenticity of Courbet's works and the external lighting effect of barbizon's painters, so he also had a whim and drew his first outdoor painting, Tuileries Palace Garden Concert. However, Manet paid more attention to the combination of internal structure and color besides considering light like impressionism in painting, and his research in this field was not paid attention until Gauguin, especially Cezanne.

Manet's paintings opened the curtain of the future with the freedom of technique and the status of color. He once had a strong interest in Japanese ukiyo-e art forms, and also liked the generality of colors and the flatness of images in Chinese and Japanese prints, looking for contrast colors in his works. The piper boy is an example. This is a painting with no shadow, three-dimensional sense and depth. Because the outline creates a shrinking effect, the characters still have a three-dimensional effect. Manet sublated the method of transforming plane into painting space since Giotto. The gray background is as solid as the characters. It seems that if the figure is drawn, there will be a hole in the background similar to that placed on the template. In order to enhance the smoothness of the picture, it seems that it doesn't matter which horizon the characters are in. It can be said that he is floating in the air. The purpose is to vividly impress the image plane.

Piper (sculpture, 1904) prerre bourdaud (France)

Bourdaire (also translated as Bourdel,1861-1944) is a student of Rodin, and also an artist who inherits Rodin's creative spirit, further expands the sculpture art and leads it to modern art. He not only inherits the tradition of classical sculpture, but also tries to give full play to the advantages of sculpture language, get rid of Rodin's over-emphasis on literariness and seek new ones. Prerre bourdaud's works are full of power, and the sculpture language is implicit and profound. If Rodin ended a sculpture era that paid attention to realism and psychological depiction, Pierre began an era that paid attention to the spatial expression and strength of sculpture. His majestic and generalized sculptures have created a new generation of styles.

Luo Shen Fu (silk painting, 27. 1cm× 572.8cm, Beijing Palace Museum) Gu Kaizhi (Eastern Jin Dynasty).

This volume takes Cao Zhi's famous poem "Ode to the Goddess of Luo" in the Three Kingdoms period (192-232) as the theme, shows the content of the poem completely with concrete and vivid images, and also reflects the requirement of the emerging literary theory to attach importance to emotional life in this historical period.

The author described the story section by section. At first, Cao Zhi came to the shore of Luoshui with his entourage and looked around intently, as if he saw Luoshen (that is, Zhen Shi) coming from Ling Bo. Then they exchange gifts, and Luo Shen and her companions play freely in the air or on the water. At this time, Fengshen stopped the wind, Heshen ordered the waves to calm down, Shuishen was beating gongs and drums, and Nu Wa, the god of creation, was also singing. Cao Zhi and Luoshen traveled in the "cloud car" of six dragons and had a heart-to-heart talk. In the end, Cao Zhi longed for him in the boat crossing Luoshui, and when he left by car offshore, he looked back and was infinitely attached.

The main characters in this volume appear repeatedly in different scenes with different images. As the background of characters, rocks and trees play the role of separating and connecting different paragraphs in long scrolls, and maintain the integrity of composition. The Luoshen belt in the painting is elegant and smart, euphemistic and calm, with fixed eyes, showing concern and hesitation. Cao Zhi's image has the demeanor of an aristocratic poet, but also shows a melancholy and nostalgic mental state. The color of this painting is bright and vivid, full of poetic beauty. This painting's psychological success in depicting characters and profound attainments in expressing emotional content reflect the new development of Chinese painting in this period.

Luo Shen Fu Tu Juan first appeared in Wang Yun's Catalogue of Painting and Calligraphy in Yuan Dynasty and Tang Jian's Painting, and later in Mao Wei's List of Famous Paintings in Nanyang in Ming Dynasty. There were many volumes in the Song Dynasty, and now there are three volumes, but this volume is the most complete.

Dream (oil painting, 204.5cm× 298.5cm, 19 10 year, new york Museum of Modern Art) Rousseau (France)

Henry. Rousseau (1844— 19 10) is a self-taught painter, whose father is a worker and his mother is a farmer. Henry. Rousseau served in the army for four years when he was young and met soldiers who had been to Mexico. The exotic customs they talked about made him very yearning. He settled in Paris on 1868. 1870, participated in the Franco-Prussian War again. After retirement, he became a tax and customs employee in Paris. He was fired because he was cheated and neglected his duty, so he had to play in a bar to make a living. He also took part in painting activities, but without training, his painting skills are clumsy. This unpretentious "clumsy taste" was appreciated and recommended by the then famous poet Apollinaire. Since then, he has gained a certain reputation in painting. Later, with the encouragement of expressionist artists, he maintained this frank way of describing things and incorporated some mysticism into his subjects, which made his art unique.

The dream shows an imaginary virgin forest. There are some strange animals and rare tropical plants in the picture. In addition to the broad-leaved jungle, there are also beautiful orchids and fruits seen in the tropics. This is an uninhabited primitive jungle, but in such an unimaginable environment, there is a naked woman lying on an incredible gorgeous sofa. In the middle, a dark-skinned man played his flute in the direction facing the audience, and a lion poked his head out of the bushes. None of this is true, and the season and environment are against common sense. It was a dream, a strange dream in the painter's heart, full of lyrical flavor and decorative flavor.

Dream has a certain expressionist color, because the concentrated things in the painting-virgin land, lions, beautiful birds, terrible bison, desolate and lonely moon, dark-skinned bagpiper and deformed naked woman, only show the painter's naive imagination, and are appreciated by many people because of their interest. A critic said humorously, "His genius is better than innocence, and he should be regarded as a pioneer of art in the 20th century."

Melancholy and mystery of a street (oil painting, 87cm× 7 1cm, 19 14, private collection in New Cannan, Connecticut, USA) Kiriko (Italy)

Qiao Erqiao? De? Kiriko (1888— 1978) was born in Greece and his parents were Italian. I studied sketching in Athens in my early years, and then studied painting in Athens Institute of Technology for four years. After his father died, his family moved to Munich, and Kiriko continued to study at the Munich Academy of Fine Arts. I was influenced by Franklin in Germany. Kiriko is also interested in Klimt, klinger and Alfred? The style of painters such as Kubin.

He read Nietzsche's philosophy in Germany and became interested in Schopenhauer's works. Nietzsche's exploration of the meaning beyond the appearance of things and his prose describing the empty square formed by the arched buildings in Turin left a deep impression on Kiriko. This painting "Melancholy and Mystery of a Street" is a typical example of this kind of metaphysical painting.

The perspective of this painting is very infectious. On the right is a large shadow, covered by dark brown and gray buildings with vaults, and on the left is a low white arcade that extends outward. The sky is gloomy, but the streets are bright. At this time, a lonely little girl with an iron ball appeared from the left corner, and her shadow seemed to be dragged in from outside the painting. There is another ghostly shadow ahead, dragging the dragon on the bright street. All this is both illogical and frightening. In that shadow, there is an empty car of an old-fashioned train with the door open, which is puzzling and adds trouble to the audience. Judging from the time, it seems to be a late autumn afternoon, but the city square is empty. The suspension of the commercial market is quite suspected of the end of the city. Kiriko admitted that the painting was inspired by Nietzsche's description of the Italian city square. It's like a dream. It's in late autumn, because the sun in Italy becomes lower and the shadow is longer than that in summer.

Street view of Paris (oil painting,105.1cm×152.1cm, 1972) estes (USA)

Estes (1936-) is one of the main representatives of surrealism (also known as "high realism" or "photographic realism") which rose in the United States in the late 1960s. This kind of art is a rebellion against the tendency of personalized expression in the West since the 1950s, that is, taking photography as the blueprint and trying to imitate it in art to avoid individuality ... This is not new, because Courbet once painted landscapes based on photography. But the difference is that surrealism uses a slide projector to project photos directly onto the canvas, and then describes them in great detail. In this way, any detail of the photo is accurately reproduced, just like the photo. It's just that this original big scene has produced a strange visual effect after such imitation, which not only inhibits the artist's personality, but also makes the audience have to passively accept it-the more you want to treat it as a real thing, the farther it is from you. The street view of estes illustrates this point well. In this work, he not only depicts the details of every object, but also uses the reflection of the mirror on the wall to increase this visual reality. However, the painter's real intention is to tell people that what we see is illusory, and even if it is so truly depicted, it is still just a painting.

(2) Definition of nouns

humanitarianism

The basic meaning of humanitarianism is that everything is people-centered, everything is for people, and humanitarianism is advocated. It includes two meanings: one is as a world view and a historical view; First of all, as ethical principles and moral norms. The former regards the world and history as people-centered; In the latter, it emphasizes universal humanity. But there are two views on how to treat humanitarianism: bourgeois humanitarianism and socialist humanitarianism. The former is centered on individualism, while the latter is centered on collectivism. Different humanitarianism has different manifestations in works of art in different periods.

"False sky"

It is a literary phenomenon formed in the Cultural Revolution, which is related to the literary principles put forward in the Cultural Revolution. The first is "three outstanding". The word "three highlights" was first put forward by Yu Huiyong, director of the Preparatory Committee of the Shanghai Cultural System Revolution Committee at that time, and was later modified and shaped by Yao as: "Highlight the positive figures among all figures; Highlight the hero among the positive characters; Highlight the central figure among heroes. " According to this principle, they also stipulate that it is not allowed to write the fault of the main character; Other roles are not allowed to take the lead in the play; Don't write more than two main heroes and so on. Another creative principle established during the Cultural Revolution is the creative method of "combining revolutionary realism with revolutionary romanticism". This creative method was put forward before the Cultural Revolution, but it was further developed during the Cultural Revolution. According to the understanding at that time, the so-called "creative method of combining revolutionary realism with revolutionary romanticism" is also the idea of combining Marxist theory of continuous revolution with revolutionary stage theory, and the idea of combining revolutionary ideal with realistic struggle. This thought is manifested in literary and artistic creation as "the combination of revolutionary realism and revolutionary romanticism". "It is based on revolutionary realism and led by revolutionary romanticism", and its core is to depict "new characters and a new world" under the guidance of invincible Mao Zedong Thought-to show the new era in which workers, peasants and soldiers are masters of their own affairs, to shape the heroic image of workers, peasants and soldiers, and to make literature and art a powerful weapon to unite the people, educate the people and strike and destroy the enemy ".