Tuesday, July 30, 2019

Story image for backdrop necklace from HYPEBAE

Gucci Is in the Spirit of Giving This Holiday Season

HYPEBAE-Dec. 18, 2018
Along with a diverse roster of jewelry, handbags, shoes and fragrances, the ... Serving as the backdrop of the visual feature is the truly beguiling setting of Le Roi ...
Story image for backdrop necklace from W Magazine

Exclusive: Younger Hits Its Fashion Stride In Season Six

W Magazine-May 2, 2019
I never change the jewelry, though. .... I also really like the necklace I wore in the first episode of season six. Bernard: ... Nico Tortorella: Laid back but expensive.
Story image for backdrop necklace from The National

Sparkling piece of history: Marie Antoinette's jewellery on display in ...

The National-Oct. 6, 2018
While that gold and diamond necklace has long thought to have been broken up ... a captivating insight into the lives of its owners going back hundreds of years.
Story image for backdrop necklace from Town Topics

Ocean's 8: Female Gang Hatches Plan to Steal Priceless Diamond ...

Town Topics-Jun. 13, 2018
Ocean's 8: Female Gang Hatches Plan to Steal Priceless Diamond Necklace ... faces that serve as backdrop almost upstage a delightful female crime caper.

1 comment:

Anonymous said...

The merit of Flaubert (and all the creators of artificial myths, wonderful
samples of which can be found in the works of Sartre) is that it
gave a purely semiological solution to the problem of realism in literature. Of course,
the merit of Flaubert not because of his ideology, according to which
the bourgeoisie is merely an aesthetic freak, it's totally unrealistic. However
at least he avoided the main sin in literature is the mixing of reality
ideological and semiological reality. As the ideology of realism in
the literature in no way depends on the language in which
says the writer. Language is a form, it may not be realistic or
irrealistically. It can only be mythical or semiticism or
as in the novel "Bouvard and Pecuchet", antiemeticescoy. Unfortunately, realism
and myth to feel for each other no dislikes. It is known to what
extent mythological our so-called "realistic" literature (including
lurid myths about realism) and how often our "unrealistic" literature
has at least the advantage that it is minimally mythological.
Obviously, it is most reasonable to approach the realism of a writer like
a purely ideological problem. Of course, it would be wrong to say that
the form does not accept any liability in relation to the reality. But the degree
this responsibility can only be determined in terms of symptomatology. One or
another form can be judged (as long as the case comes to court) only in
as a value, not a means of representation. The writer's language must not
To represent this reality, but only to oznacovat her. This should
it would make literary critics to use two completely
different methods: realism writer should be considered as either
the ideological substance (such, for example, Marxist themes in
the works of Brecht) or as a semiological value (the props, actors,
music, color in the drama of Brecht). The ideal would obviously be a combination
these two types of criticism; however, a constant error is mixing them,
although the ideology of its methods and the scope of semiology