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or complex ideas. For instance, even though the ankh sign is motivated by a tro- pological transfer using successive metonymies, it represents an idea, [life], lack- ing materiality. Therefore, the penis sheath20 used to convey the concept should not be taken at face value. It should be deciphered

In: Methodik und Didaktik in der Ägyptologie
Author: Martina Groß

quality of a poem for me, and I have learned (from the stage) to what extent today’s literature is worked out as a problem at the desk and is made for the spectacles of the collector instead of for the ears of living human beings.” 12 Between February and June 1916, Hugo Ball staged a series of

In: Disasters of War
Author: Alexis Dworsky

Wright, Joan- na L. (Hg.). Feathered Dragons. Studies on the Transition from Dinosaurs to Birds. Blooming- ton: Indiana University Press. 1-11. Bakker, Robert T. und Galton, Peter M. 1974. Di- nosaur Monophyly and a New Class of Vertebra- tes. In: Nature. 248: 168-172. Balston, Thomas. 1945. The life of

In: Dinosaurier!
Author: Sarah Dornhof

into an autonomous form of life and thereby sets down, at one and the same time, the autonomy of art and its identification with a moment in life’s process of self-formation“ (Rancière 2004: 26). Das ästhetische Regime trennt nicht länger, wie der repräsentative Modus, den Bereich der Kunst von

In: Alternierende Blicke auf Islam und Europa
Chapter 5 Contemporary Hollywood
Author: Piotr Szczypa

the film ends, he signals to Markum that he will arrest him, at the same time emphasizing his rejection of the retributive justice that characterizes his community. His choices are rewarded by stability in his personal life as he reunites with his estranged wife. A somewhat ambiguous character, who

In: Irish Stereotype in American Cinema
Author: Willem Frijhoff

of what exactly motivates a person beyond acquired cultural conventions, group constraints, common habits, or instinctive and seemingly self-evident traditions, and how human will, chance, accident, and unplanned circumstances affect the life, thought, and agency of the individual as well as of the

Open Access
In: Early Modern Privacy
Chapter 4 Contemporary Hollywood
Author: Piotr Szczypa

on extreme retribution. The Irish freedom fighters represent a spectrum of characters. Liam McGivney has quit his violent life; Frankie McGuire is a romantic hero whose sense of duty does not let him start a new life when he is given a chance to do so; Sean Miller is a violent murderer motivated by

In: Irish Stereotype in American Cinema

sovereign lady, on the other hand (and here I must confess my weakness) that awareness evoked pity in my heart, from that natural love I owe my subjects. The queen declares that in her flight, she was motivated not by fear, but by a sense of public duty to preserve her power and thereby to protect all

Open Access
In: Early Modern Privacy
Chapter 2 The Irish on the Silver Screen
Author: Piotr Szczypa

, who were portrayed as strong and non-violent. An interesting exception to this rule was an early portrayal of Irish gangs in William Beaudine’s Little Annie Rooney from 1925. Annie (Mary Pickford), an Irish American girl living in New York, is a tomboy who looks up to her older brother, a member

In: Irish Stereotype in American Cinema
Author: Maarten Delbeke

the affinity of aesthetic pleasure with religious ecstasy. 18 In order to achieve this effect, Bernini’s sculptural group evokes a passage from Teresa’s autobiography, The Book of Her Life (first published in 1562), where she describes experiencing the at once unbearable and sweet pain of being

Open Access
In: Early Modern Privacy