rencontres loches 37 But how can an art in the name of the specific be the lingua franca of globalized art?
rencontre sobika We rehearsed the crowd scenes in the Winter Palace, in the Throne Room and the Armorial Hall.
ouest france rencontres ornaises cinma Can contemporary theatre recognize itself in the boxing ring so that its fist, the fist of the past, strikes a forceful and violent blow?
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formation prostituée Michael Bies (ed.), Michael Gamper (ed.)
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rencontres du fait divers 2011 Cornelius Borck (ed.), Armin Schäfer (ed.)
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ou se trouve les prostituee a marseille Der Kupferstecher und der Philosoph
charmed paige et henry rencontre Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung
prostitute tanjung balai indonesia The fashion system’s ability to manipulate meaning within society’s codes of convention allows for subversive uses and readings of fashion statements. Examples abound in film and the discourse around it…
parole rencontres grand corps malade don slam Derek Jarman’s version of Christopher Marlowe’s Edward II presents an extradialogic commentary on how the image of Queen Isabella can be literally made-up by means of a procession of outfits that follow their own rhythm of elaboration as the film—and the plot—progresses. The lavish clothes do not add up to a stable indicator of the queen’s intrinsic and unalterable identity; nothing like the costumes in classic cinema that express character and personality. They remain, instead, a group of images rife with conflicting bits of visual information, which even the most hardworking spectator will have trouble forcing together. This is because the attire of the queen does not so much serve to characterize Isabella as to comment on the role that she assumes.
cite de rencontre completement gratuit The costumes/images belong to a system of representation different from that of Marlowe’s sixteenth-century dialogue; they are patterned on the template for “how to be female” in Hollywood films....
rencontre musicale bernex How dance performance may be seen as the place of the Other, as a “space” in which “something happens”?
rencontres chamaniques dole In Le Roy’s Sacre the audience is not an “audience” in the sense of a closed unity; not an audience as a multitudinous communal body that is positioned opposite the “body” of performers (orchestra/ballet) of a performance of Le Sacre du printemps. The other side, the opposite is inverted the moment Le Roy – back on stage with his back to the audience – turns around to face it and, imitating a conductor’s movements, treats it as an orchestra, as if he were standing face to face with the various groups of musicians to whom he was giving cues. At his moment of turning the unities of the normal performance set-up collapse, and the conventions of representation are shaken. This theatrical “as if” – Le Roy conducting the audience as a fictitious orchestra – points once again to the aesthetic negativity of this process. The gaze – the gaze back, from the stage into the...
rencontres genevoises natation 2012 To a large degree, the crisis of the symbolic order is induced by signal recording.
rencontres republique dominicaine Whereas the cinematic and TV image is always perceived as framed and thus contained (as a kind of quote / quotation mark of reality), the acoustic signal is never minimized but cuts directly, even aggressively into the ear. The radio voice is not perceived as representation of the “real” (physically present) voice but as identical with the human voice itself. […]
curateur public a la rencontre de la personne To convince the audience of the sonic fidelity of phonographic reproduction of music, the Edison Company staged an experimental setting in New York’s Carnegie Hall in 1916, placing a mahogany phonograph alone on the vast stage. In the midst of the initial silence a white-gloved man emerged from behind the draperies, solemnly placed a record into the machine, wound it up and vanished. Then an opera singer stepped forward and while leaning one arm affectionately on the phonograph began to sing an air from Verdi’s Tosca. The phonograph also began...
site de rencontres caen The political process is not an expression, a singular expression, of objective reality but it is in some sense separated from this reality. The political process is not a process of expression, but a process of separation.
rencontre dj mariage I think that we can speak today, after the last century, of a classical revolutionary politics. And my thesis is that we are beyond this classical revolutionary politics, the most important characteristic of which is, in my conviction, what I call expressive dialectics. Certainly, political struggle, insurrection, revolution are not structural effects – neither in the classical conception – they are moments, and we have to grasp the moment, name the circumstances, and so on. But finally, the moment, the political struggle, expresses, concentrates the social contradictions. And that’s why an insurrection can be purely singular and universal. Purely singular because it’s a moment, the pure moment, and universal because finally this moment expresses the generality of fundamental contradictions.
sortir rencontres bruxelles In the same way – and it’s another part of expressive dialectics – the revolutionary party, the revolutionary organisation represents the working class. And finally we have the famous sentence of Lenin about the very heart...