Shop Local, Shop Quicker: Portland's Top Shopping Districts
The Portland Mercury-Nov. 7, 2019
Paper Source (638 NW 23rd) Stationery, crafting supplies, and lots of funny gifts. Gem Set Love (720 NW 23rd) Vintage jewelry. See story on this page for more.
Identifying beneficiaries for those special bequests
Houston Chronicle-Mar. 11, 2019
Examples of items we would want to give away are our bedroom set, jewelry ... in estate planning and probate law by the Texas Board of Legal Specialization.
New development in Modesto, Milpitas robberies: Jewelry ...
Modesto Bee-Aug. 27, 2019
The robbers in the strikingly similar smash-and-grab jewelry heists Sunday in ... at the Valliani Jewelers at Vintage Faire Mall,” the Milpitas news release said.
Why Dressing for 'Why Women Kill' Was a "Costume ...
Hollywood Reporter-Aug. 15, 2019
The pearls are finally swapped out for a vintage jewelry set from Playclothes Vintage Fashions in Los Angeles — a two-tone purple and pink necklace with white ...
character icons, symbolism, the symbolism of the follicles of the temples. He
E. Trubetskoy calls these fundamental differences: ascetic
notmerely iconographic faces, their subjection to architectural temple,
a Cathedral burning to the cross as a feature of Russian Church
architecture (E. Trubetskoy, the Meaning of life. M., 1994. P. 247). System,
hierarchical element E. Trubetskoy finds and Christian
saints from pagan chelovecheskogo is their subordination to the whole temple,
architectural unity. "Each of them has its special, but always
subordinate place in the iconography of the temple staircase, which dates back to
Christ. In the Orthodox iconostasis of this hierarchy of the saints around
Christ has the characteristic name rank. In fact, in the temple
all the angels and saints are added to the same or a different order" (ibid.
P. 248). Semioticist this approach to the visual language of iconography is not
doubt. On the other hand, E. Trubetskoy does not less attention
paid verbal sphere -- the Russian fairy tale and its heroics, revealing
the semiotic nature of the structure of Russian fairy tales.
We have considered the languages of visual and verbal, and musical language
had such a powerful effect on E. Trubetskoy, as a result, he
touched a revelation of God and received faith. It happened when
the performance of Beethoven's ninth Symphony orchestra under the baton of Anton
Rubinstein: "In a startling Scherzo, with its three-fold, violent and
hard tones, the soul tries to find a way out of the deepening darkness. Somewhere
rings trivial melody bourgeois fun, and again, the same three
dry, hard tone interrupted the melody and swing it. Down with it
unworthy imaginary release! In the shower should not be a place for bourgeois
of self-satisfaction. Again, the dissonance and chaos. Space combat sounds
fills the soul with despair... And all of a sudden, when you were already on the edge
the dark abyss, you hear the majestic call from the height of another plan
being. From the infinite distant pianissimo can be heard until now naslyshana
melody of joy. The orchestra's first whispers to her. But these sounds grow
expanding and closing. This is not only a promise for a distant future, is already
hear a live human voice -- chorus, And suddenly you rise above
the stars above the world, above all the sorrow of existence..."
rhythmic records. Here, put before you public places.
Unless life offices has its specific rhythm?
Does the tapping of typewriters, the scratch of the pen, the steps the petitioners and couriers, gait
officials no particular rhythm, which expressed precisely the public
place and not the hospital and not belosnejnaya and not a University? I mentioned above
Chekhov as a guesser of the rhythm of the twilight characters. Art theatre with
great art this rhythm is embodied on the stage" (Ibid. P.171).
The rhythm he considers as a new method of generalization of the art of living as
one of the semiotic coordinates of this process. "I see a real life,
sad, sometimes cheerful, sometimes accompanied by generalized noises, sometimes
generalized words. And I want to guess, past, present, and future
some are extremely subtle, rhythmic lines. I know
there is a rhythm of silence, meetings, drink tea, love languor, business
concentration, etc. All of this is served sometimes on stage now, but with
great addition of descriptive words and detail" (Ibid. P.172).
The rhythm in this concept becomes a word of the mass and of the collective. When
individual character is valid by using basic words, the hero collective
expresses itself in rhythm. As writes A. Kugel, "the usual form of expression
theatrical character -- word, speech -- is almost non-existent for the collective
hero. For it required a special language, he needs a special form of expression.
(...) The goal of the theatre having in mind a collective character, to highlight the rhythm,
to detect it, to capture its properties. (...) To catch the rhythm-it means to find
the observation point, focus it, similar to how finding focus
is the task of the photographer taking the picture" (ibid.P. 174-175).
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