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Valencia’s Teatro Princesa in 1913. An ex- tensive tour of Andalusia and Africa then followed with a classical reper- toire which included José Zorilla’s sentimental drama, Don Juan Tenorio. Classical pieces, including Calderón’s Life is a d ream [La vida es sueño] and Ventura de la Vega’s The man of the
artifacts, which can be categorized since the single media involved cannot be separated (cf. 2002: 22). A 14 sites or virtual entities, even relationships between living human beings are no longer essential for defining a live experience (cf
gives itself a place. It is by means of them that society constitutes a system of norms, institutions in the broad- est sense of the term, values, orientations, and goals of collective life as well as of individual life. At their core are to be found in each instance social imaginary significations
‘life cycle’ of styles, according to a biological model of birth, growth, decay and death, or a seasonal scheme of spring, summer, autumn and winter. Vasari explicitly aims at identifying stylistic features in describing modes and manners (‘i modi, le arie, le maniere, i tratti e le 1 Jás Elsner
their work and a constant threat and danger of incarceration. Throughout these years, many withdrew into private life or emigrated abroad. Nearly no exhibi- tions took place in public space. Hou Hanru 侯瀚如 (born in ), one of the organizers of the exhibition China / Avant-Garde, commented on the
complete and ac- curate enough to be definitive on the one hand, and capable of signaling its own limitations as partial on the other, has motivated critique of the very attempt to account for the events. But it is impossible to represent events in the public arena without constructing a narrative if
the Twin Towers or, more recently in , the destruction of a temple in Palmyra at the hands of IS militants, politically or religiously motivated iconoclastic acts have always taken place and always will. Moreover, art has often unwittingly or, in the avant-garde movements of the th century
, students and particularly principals would be motivated to imitate Miki’s successful money-raising strategies. A very interesting play aimed at middle class men (and women) is Ōyake no inochi (A Public Life, 1941).15 It opens with a scene of children singing a song about tonarigumi (neighborhood
holding the sacrificial knife ready to cut the sacrificial lamb’s throat.« Against this background, it is in fact rather surprising that the insight that images »want« something from us and/or »do« something with us, as if they were a particular kind of living beings, is presented time and again as
is still banned in Guern- sey, the grounds of ‘bad language’ being cited as the reason, even though it is clear that this is a thinly-veiled excuse to justify an act of politically motivated censorship. This article will focus on the moral crisis that surrounds the reception of Pascal’s play, a