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Among the features of theatrical language A. Kugel include other
the perception of a literary text on the stage. He draws on the example of Gogol.
"Gogol loved logicheskoe, finding in horse racing logic a charm
comic. (...) I saw on stage "diary of a madman". They gave
quite a different impression than reading. Crazy on the stage can not be
definitely funny. The theatre puts the failures of logic with special splay. Reading
you enjoy only the wit and liveliness of mappings watching
actor, you can't help but sympathize with the unfortunate, torn from the chain
logical need. Visually because Poprishin crazy. Visually it
all clean-shaven. Visually he poured a shaved head with cold water, and it
a hundred times stronger than what the Algerian fight under the nose cone. (...)
Stage performance has an extraordinary power of some, I'd say
chemical reagent. The saying in photography, the scene "shows" (Kugel
A. R, Russian playwrights. - M., 1933. P. 44-45).
The special nature of the theatrical semiotics of the language occurs due to the sharp
narrowing of the functioning of verbal language: "dramatic poetry, devoid of
help descriptions fills that gap enhanced expressiveness
conversation. This is where a lot of artistic means is the highest degree
art..." (ibid. P. 19). About the playwright Ugine A. Kuhelj
says: "Theatre at Ugine not only the construction of plays, the theatre not only
material. The word of his theatrical, full sounding, the costume" (the Aphids
Because of other usage of language semiotic is not only a word,
but the lack of it-silence. "The art of the pause, which plays a role in
the current drama is not after all a form approved by words, but rather
the negated form of the word. The art of silence -- the most difficult and at the same
the most honorable form of stage art. It is in the
the tragic moments of their life people least inclined to talk"
(A. R. Kugel Approval of the theater. -- M., 1923. P. 149). And then
the fundamental axiom of theatrical communication: "first of all you need
to opt-in theater from absorbing, absolute, adenocarinoma cult
the words" (ibid. P. 151). This reorientation is based on important
the arguments of communication
considered myself a writer. This book I have cherished for a long time. It can be
insufficient literature (no experience, skill), but she has no
literariness" (ibid. P. 378). In vysheperechislennyh famous
60 years of memoirs Ehrenburg mentions high school students
his school, whom he had known. All this names are very important
in this Chapter the history of semiotics:
Bukharin, Astafiev, Tires, Argo. In this list there are also novel
Jacobson, with whom they worked together on vacation. About it Ehrenburg
write in his memoirs: "I Think in September 1923 from Prague
arrived in Berlin a friend of Mayakovsky and E. Y. Tirol red-haired Romka -- the linguist Roman
Osipovich Jakobson, who worked at the Soviet mission. In the poem
have become classical, Mayakovsky says the diplomatic courier Nette, "eyes
mowing in printing of wax, long talked about Roman Jacobson and ridiculous sweating
poetry teaching". The novel was pink with blue eyes, one eye squinting; drank a lot, but
kept a clear head, but after the tenth glass buttoned his jacket the wrong
button. It struck me that everyone knew -- and the construction of poems
Khlebnikov, and old Czech literature, and Rimbaud, and the machinations of Curzon or
MacDonald. Sometimes he had fantasies, but if someone tried to convict him of
inaccuracies, smiling replied: "It was on my part a working hypothesis"
All of this creates for us a very special context of perception
the book of I. Ehrenburg.
The novel is quite structural and systematic. And it begins in the first
with a completely semiotic paragraph: "I was feeling very mystically and
glimpsed in the most squalid events some signs again" (Ehrenburg I.
Julio Hornito // Ehrenburg I. Complete collected works. Op., V. 1. Moscow - Leningrad, 1928. P.8).
Himself Julio Hornito appears in the cafe "Rotonda" (by the way, this cafe
Ehrenburg he has devoted many pages of his memoirs) in the spirit
future of Bulgakov's texts -- with a completely transparent allusions to hell.
"Really, it was worth a closer look at the newcomer to understand
a definite purpose and of a mysterious bowler hat and wide coat. Above
temples clearly were under the curls cool horns, and coats tried
to cover up the sharp, aggressively raised tail"
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