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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

In: Experiment
Author: Jeffrey Brooks

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

In: Experiment
Author: KARL TOEPFER

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

In: Experiment
Author: MILKA BLIZNAKOV

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

In: Experiment
Author: YURI TSIVIAN

-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

In: Experiment

Motivated by high idealism throughout his life, Ge started out as a follower of Karl Briullov, with whom he had studied at the Academy. He moved on to an infatuation with the liberal causes of the 1860s and ended up as a disciple of Tolstoi. Ge is recognized for having pro- duced the first critical history

In: Experiment

new expressivity, creating a universal sign of tragedy as well as of the vital spirit of life. In Tenth Sonata Goleizovsky advanced towards a type of abstract ballet different from those of Alexander Gorsky or Michel Fokine. He also developed compositional principles that differed from those of Fe

In: Experiment
Author: Debra Levine

. Kennedy. 1 No one of this caliber signed on for Madam Satan —perhaps due to the title? DeMille turned to Theodore Kosloff, the ballet dancer-turned-silent-movie actor. By 1929, the two men’s nearly mirroring life spans (Kosloff, 1882-1956; DeMille, 1881-1959) included a thirteen-year stint of working

In: Experiment

least 60 per cent of the population, while social indicators associated with poverty such as child malnutrition, maternal and child mortality, mortality due to diseases, and dropping out of school registered a substantial increase (Dávalos 2016: 72–74). The degradation of the living conditions of

In: Power and Impotence

commented, that, ‘guests should be received in the living room’ and not in the bedroom (conversation with Peredo 2015). While it is true that a histrionic right wing opposition persists, it is motivated more by openings in positions of power rather than by a dispute over the country’s political project

In: Power and Impotence