Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
Niðurstöður 1 - 3 af 21
Síða 46
... Canetti died in 1963. In 1983 , when the anthology Dreißig neue Erzähler was republished , the editor notes in her preface that she is unable to supply any information on the author Veza Magd ( Göbel 181 , notes 2 and 14 ) . Between ...
... Canetti died in 1963. In 1983 , when the anthology Dreißig neue Erzähler was republished , the editor notes in her preface that she is unable to supply any information on the author Veza Magd ( Göbel 181 , notes 2 and 14 ) . Between ...
Síða 53
... Canetti ( München : Carl Hanser Verlag , 1990 ) 171 . 4 Wieland Herzfelde , Hrsg . und Einl . , Dreißig neue ... Canetti , foreword , Yellow Street : a novel in five scenes , by Veza Canetti , trans . Ian Mitchell ( New York : New ...
... Canetti ( München : Carl Hanser Verlag , 1990 ) 171 . 4 Wieland Herzfelde , Hrsg . und Einl . , Dreißig neue ... Canetti , foreword , Yellow Street : a novel in five scenes , by Veza Canetti , trans . Ian Mitchell ( New York : New ...
Síða 63
... Canetti . She studied German , French , and English literature entirely on her own ; she had , at the age of 28 when she met Canetti , attended Karl Kraus's lectures for years ; she was introduced to Canetti at the 300th lecture on ...
... Canetti . She studied German , French , and English literature entirely on her own ; she had , at the age of 28 when she met Canetti , attended Karl Kraus's lectures for years ; she was introduced to Canetti at the 300th lecture on ...
Efni
The Power of the Image | 20 |
The Preface of a Spouse | 45 |
Veza CanettiBetween Fact and Fiction | 56 |
5 aðrir hlutar ekki sýndir
Aðrar útgáfur - View all
Common terms and phrases
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