Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 47
... Elias Canetti , then he was aware of her motives for writing . Elias writes that when his work began to flourish " it frightened her , for it threatened to destroy us , her , myself , our love , our hopes " ( Foreword vii ) . What this ...
... Elias Canetti , then he was aware of her motives for writing . Elias writes that when his work began to flourish " it frightened her , for it threatened to destroy us , her , myself , our love , our hopes " ( Foreword vii ) . What this ...
Síða 52
... Elias Canetti as a testament to his enor- mous support and literary influence , these two texts also document Elias ' massive , expansive , and overwhelming presence and Vene- tiana / Veza's refusal , reluctance , and defensive stance ...
... Elias Canetti as a testament to his enor- mous support and literary influence , these two texts also document Elias ' massive , expansive , and overwhelming presence and Vene- tiana / Veza's refusal , reluctance , and defensive stance ...
Síða 65
... Elias Canetti is now going to guide ; may it follow him ! Yet perhaps Venetiana is not after all the shadow Elias explores in a rhetorical figure . She does not follow Elias as unconditionally as Eurydice followed Orpheus , she holds ...
... Elias Canetti is now going to guide ; may it follow him ! Yet perhaps Venetiana is not after all the shadow Elias explores in a rhetorical figure . She does not follow Elias as unconditionally as Eurydice followed Orpheus , she holds ...
Efni
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