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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

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

motivated and closely related to his own devoutness and life of faith. Messiaen chooses eclectic text fragments and sound models from various times that are personally important to him, setting them under a uniform contextual framework. The advantage of music lies in conveying authors of the past in a

In: Olivier Messiaen’s “Livre du Saint Sacrement”

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

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

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