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The question is, what is the discourse of performance and whether it can establish legitimacy. At first glance it seems, that this prevents the traditional distinction between force and right, power and wisdom, i.e., between a strong, fair and correct. About this vzaimosochetaemost we said before, in terms of the theory of language games, distinguishing between the denotative game, where the relevance of belongs true/false; prescriptive game that comes from a fair/unfair; technical game where the criterion of effective/ineffective. "Force" only appears in the last, technical, game. We exclude cases when it is used for terror.
First of all, it is a big downsidepaintings depicted on the left, rather not negotiable and facialside, as it shows in the FAS what is the position of thiscanvas. Moreover, it is opposed to the window and highlights it. Asthe window reflection is a common place for the picture, and for whatis outside of it. But the window function is a continuous light, reachingright-to-left and connecting to the full attention of the characters to the artist , topicture the sight that they behold. The mirror is in a strong,instant and a sudden gust rushes outside of the picture in search ofthe invisible subject of contemplation in order to make it visible on the vergefictitious depth, visible, but immune to all the views. Powerthe dotted line drawn between reflection and reflected, perpendicular topierces the side of the flowing stream of light. Finally -- and this is the thirdfunction mirror -- it is near the door thatreveals, like him, in the back wall in the picture. The door alsocuts bright rectangle, dull light which does not penetrate intoroom. It would just be a Golden plane, if not deepenedbeyond this room with carved door, bending of the curtain andseveral shaded steps. There is a corridor, but insteadto get lost in the darkness, he breaks into a yellow glow, where the light is notpenetrating the room, swirls and settles. On this light backgroundat the same time close and infinite, looms high silhouettemen. It is visible in profile; with one hand he holds a heavydrapery; his feet placed on different steps; one of them is bentin the knee. Maybe he'll enter the room, maybe onlywill see to it that it is satisfied that it can quietlysomething to peep. Like a mirror, he captures the back sidewhat is happening; he, like the mirror, not paying any attention.
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