Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 18,Útgáfa 31996 |
From inside the book
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Síða 46
... Veza Magd ( Göbel 181 , notes 2 and 14 ) . Between 1989 and 1994 most of the texts by Venetiana Taubner- Calderon were presented under her married name , Veza Canetti , to a wider and drastically different audience from that of Vienna ...
... Veza Magd ( Göbel 181 , notes 2 and 14 ) . Between 1989 and 1994 most of the texts by Venetiana Taubner- Calderon were presented under her married name , Veza Canetti , to a wider and drastically different audience from that of Vienna ...
Síða 50
... Veza into a loving , quiet , devoted , and willing servant . This transformation begins with the image of " ideal- woman " purported to be Venetiana / Veza's : she had admiration “ for all that a woman can represent , when she deserves ...
... Veza into a loving , quiet , devoted , and willing servant . This transformation begins with the image of " ideal- woman " purported to be Venetiana / Veza's : she had admiration “ for all that a woman can represent , when she deserves ...
Síða 53
... Veza Canetti ( München : Carl Hanser Verlag , 1990 ) 171 . 4 Wieland Herzfelde , Hrsg . und Einl . , Dreißig neue ... Veza Canetti , trans . Ian Mitchell ( New York : New Directions , 1990 ) vii - x . Helmut Göbel , Postscript , Die ...
... Veza Canetti ( München : Carl Hanser Verlag , 1990 ) 171 . 4 Wieland Herzfelde , Hrsg . und Einl . , Dreißig neue ... Veza Canetti , trans . Ian Mitchell ( New York : New Directions , 1990 ) vii - x . Helmut Göbel , Postscript , Die ...
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