Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Band 18,Ausgabe 31996 |
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Seite 56
... death.1 A death wish unfulfilled and an actual death , brought about like catching a cold , mark the beginning of the only longer text by Veza Canetti , Yellow Street . The Earthly Chapter One / Inside Runkel is not able to move by ...
... death.1 A death wish unfulfilled and an actual death , brought about like catching a cold , mark the beginning of the only longer text by Veza Canetti , Yellow Street . The Earthly Chapter One / Inside Runkel is not able to move by ...
Seite 64
... death could be raised to a higher power . Or , as though death did not come to Runkel because such a grotesque creature can only be killed by a multiple death . Such a death does not exist . Nor does death allow itself to be fooled ...
... death could be raised to a higher power . Or , as though death did not come to Runkel because such a grotesque creature can only be killed by a multiple death . Such a death does not exist . Nor does death allow itself to be fooled ...
Seite 100
... death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of ... death that Finsterlicht senses expresses nothing other than the relation to death associated with the ma- chine ? Derrida ...
... death : one figured as the obsolescence or displacement of a particular form of embodiment rather than of ... death that Finsterlicht senses expresses nothing other than the relation to death associated with the ma- chine ? Derrida ...
Inhalt
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
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action aesthetic African already appears artist attempt Avengers become begins body called camp Canetti characters cinema computational connection constitutes construction contemporary continued corporeal create critical critique cultural death desire difference direct discourse distinction effects Elias Emma escape example expression fact fantasies female feminine feminism feminist figure film Finsterlicht's forced Foreword function gender German gives historical identity issues Kino International Leni Riefenstahl living look machine male materiality matter meaning narrative Nazi never Notes object offers performance physical play political position possible practices present production propaganda prostitute question reading relation remain representation response returns Riefenstahl roles sexual shame signifier signs situation social society space specific story Street structure struggle suggests takes television thing traditional Veza voice Western woman women writes York