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Demnig (b. 1947), who has been active for more than twenty-five years as the representative of this unique urban practice of memory. When, in 1990, he created a work of art in memory of Roma and Sinti victims in Cologne, a German lady remarked that there had never been any “gypsies” living in the city
the integration promoted by the CMEA did not take into account the specific conditions of the Romanian economy, and the Roma- nian refusal of it was motivated at that time not so much by narrow-minded nationalism but by economic considerations.19 In 1963, Romanian-Soviet relations deteriorated to a
-Loup understands it to be something like an Aryan counterpart to the Mosaic Ten Commandments, conceiving of it as ancient stone tablets inscribed with the Aryan race’s law of life in a kind of runic or even pre-runic script: “The Grail is probably the last message sent by the Hyperboreans prior to their
Maastricht, voters living in the highly urbanized areas of Aarhus and Copenhagen and/or with a dominant left-wing political orientation were more likely to express Eurosceptic views than liberal-conservative voters in the less urbanized areas in western Denmark (Jutland), whereas the picture is much more
Maastricht, voters living in the highly urbanized areas of Aarhus and Copenhagen and/or with a dominant left-wing political orientation were more likely to express Eurosceptic views than liberal-conservative voters in the less urbanized areas in western Denmark (Jutland), whereas the picture is much more
profound socio-economic change. In contrast to the 1860s, the market principle came to dominate all spheres of life, especially in the cities. In addition to this commercial goal, which was considered by the Association's founders as a precondition for the creative activity of its artists, there was
part illustrate the fear of death or wary anticipation of the afterlife, as in “The living fear death,” “Death without confession is a dog’s death,” and “Life on earth is not the end of all; death frees the soul.” 40) Death is a presence in folktales such as that of Koshchei the Deathless (Koshchei
children, concentrated almost entirely on group movement as a fundamen- tal preparation for living a beautiful life rather than a professional career as a dancer (fig. 8). Improvisation was central to her aesthetic of group identity, but by improvisation, she meant a kind of flowing or meandering
housing complexes in space consisted of rings of living units with landing docks for the flying capsules. The housing ring was connected to labora- tories producing food and energy, i.e., the life-support system. In other words, here was a skylab complete with residential units and shuttle cap- sules, a
-14, embracing not only tango-related artides, but also specific body language (for instance, walking ä la tango)'2 and an entire life style. In a mock diary published in the magazine Satirikon (Satyriconj in early 1914. Evdokiia Nagrodskaiia chronicled the spread of tangomania in Russia during the last week of