David German:

David German:

Herman stayed with the show until exiting six episodes into the third season. He wanted to leave the show to do other projects, but Fox would not let him out of his contract as they considered him too valuable to the show. So he got himself fired by screaming all his lines during read-through. While continuing his voice work on King of the Hill, he came across the script for Office Space, for which Hill creator Mike Judge had specifically written the Michael Bolton part with Herman in mind. (Source: en.Wikipedia.org)

Herman is also known for his work as a voice actor in cartoons and video games, notably in Futurama, where he provides the voices of many recurring characters (including Scruffy, Planet Express's Sling Blade-esque janitor; Roberto, the mentally-deranged criminal robot obsessed with stabbing people; New York City mayor, Mayor Poopenmeyer, and Professor Farnsworth's former student and current rival, Ogden Bergstrom), and King of the Hill, for which he voiced Leanne's ill-fated boyfriend, Buckley, as well as several one-shot and incidental characters. Herman's other voice work includes parts on Family Guy, American Dad!, the short-lived CGI-animated sitcom Father of the Pride (in which he voices Roy Horn), and the JAK and Daxter video game series. Herman also starred as Ubuntu Goode (and other supporting voices) on Mike Judge's short-lived companion series to King of the Hill, The Goode Family. He also provides the voice for Mr. Frond (and other supporting voices) in Fox's Bob's Burgers, Mr. Gar, Brandon, and others on Cartoon Network's OK K.O.! Let's Be Heroes, The Herald and various characters on Matt Greening's recent series for Netflix Disenchantment, self-absorbed and dangerously incompetent park ranger Steve Williams on Comedy Central's Brickleberry, and Kevin Crawford, a childish, yet semi-competent rookie cop on Netflix's Paradise, PD (coincidentally made by the same people behind Brickleberry). (Source: en.wikipedia.org)

My work at the moment focuses on Tolstoy's fiction and consists of three projects loosely emphasizing the tragic side of the writer's worldview, reading the fiction "backwards" (starting with trends more evident in the late fiction and exploring their importance for all his narratives), and looking at the implications of the ethical ideals endorsed inTolstoy's fiction for the way writing should be done, that is, the dialogue between plot and form. (Source: slavic.as.virginia.edu)

The starting point for each European project needs to be a mature project idea. However, the way these are transformed into project proposals & develop the right partnership takes a vastly systematic approach: and approach that is common to virtually all EU funding programmes, irrespective of your field of work. (Source: www.david-herman.com)

The first project examines the ideal mindset of the individual. Tolstoy's plots juxtapose innocent, slightly naïve, unself-conscious characters to others who are naive, aware of the true nature of things, and, as a result, less loving and hence less moral – always preferring the former. The best characters accept fate, however difficult, and are taciturn, even silent (often in covert ways). Tolstoy's plots seem to favor unself-consciousness even if it precludes full insight, innocence even if it entails a false understanding of reality, and silence even if undermines communication, a deep paradox for a literature that aspires to know and show all things. Much of my work here is a detailed examination of the thought processes of Tolstoy's moral exemplars, a topic less explored than one would think. (Source: slavic.as.virginia.edu)

The second project explores a person's relationship with the outside world: the many forms of compassion and love, our gropings for a withdrawn God, and the creeping sense of orphanhood underpinning Tolstoy's worldview. The later fiction takes orphanhood as grounds for a theology, showing human isolation to be tragic yet, curiously, ethically necessary, both a grievous human failing and a divine imperative. Compassion and love, in younger Tolstoy the greatest good, in older Tolstoy become deeply problematic, as not just sexual love but more broadly brotherhood and compassionate understanding are rejected as morally unhealthy. Only one narrowly defined concept of love continues to be allowed, little like the term's normal meaning and embodying a deep cynicism about human beings' ability to intersect meaningfully except as stranger. This part of my work is directed against a widespread critical tradition which views Tolstoyan Christianity as predicated on attentive concern for others in their unique specificity. (Source: slavic.as.virginia.edu)


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