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Author: Zahava Caspi

drama. See Lucien Dallenbach, The Mirror in the Text (Chi- cago: The University of Chicago Press, 1989), pp. 7-74. Lacerated Culture, Self-Reflexive Theatre 191 theatre, it is ‘projected onto life itself, and becomes a means for gauging it.’3 Thus the play within the play is ‘conscious or

In: The Play within the Play

7 Introduction Images are not only produced and presented to be looked at. They are created, used, and circulated as agents of opinion-forming processes, societal transforma- tion, and political change. In historical visual cultures, politically and religiously motivated image practices have a

In: Bildagenten
Author: Amy L. Neff

life of Christ. The first pair of window lancets juxtaposes scenes from Christ’s infancy with Old Testament types, while scenes from Christ’s ministry are in the center, and the third pair of lancets to the right contains images of the Passion. These stained- glass scenes occupy a privileged

In: Transcultural Imaginations of the Sacred
Author: Birgit Mersmann

contem- porary art on a global scale, resulting in what has been designated as global art activism or in short: artivism.1 Socially and politically engaged artists have found new missions in intervening in the public sphere at the interface between state governance and civil community life in order to

In: Bildagenten
Author: Carlos Fraenkel

nobility. At the same time they are also unable to understand how God as the first cause relates to a virtuous life. Hence, they lose both their belief in God and their belief in the goodness of living virtuously. Time and again, Averroes criticizes Muslim theologians who »strayed and led astray« for

In: Enthüllen und Verbergen in der Vormoderne / Revealing and Concealing in the Premodern Period

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

In: Morality and Justice
Author: John McGrath

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

In: Morality and Justice

Chí Minh, a statesman and revolutionary leader whose iconic representations are not only displayed in the public and private spheres, but are also to be found in Buddhist pagodas. This contribution explores the veneration of Hò̂ Chí Minh, who was already considered a deity during his life- time

In: Bildagenten
Author: Andrea Pinotti

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

In: Art History and Visual Studies in Europe

of the king’s perception of reality formed by the ritualist behaviour of court life and that of the framing, ‘real’ reality of his subjects. Taking on the Fool as its structurally most important dramatis persona, Shakespearean metadrama stages his truth as that of a fixed world order kept

In: The Play within the Play