Results 31 to 40 of about 3,457 (221)
Novo do velho: a poesia experimental dos poetas ensaístas Haroldo e Augusto de Campos
Texto Livre: Linguagem e Tecnologia, 2015 To discuss sharp poetry of sound and visual expression, which shares the sense of renewing the old, but not strays from the old, or create the new, returning to the origin, is one of the main reasons of this article.
Carolina Tomasi
doaj +3 more sources
Il neobarock’n’roll di Frank Zappa. Per un catalogo di citazioni [PDF]
Parole Rubate, 2021 Between the 1960s and 1990s, rock music was profoundly influenced by the aesthetic of the American composer and musician, Frank Zappa. The latter’s complex and irrevent quotations came from different kinds of music, which included – among other things ...
Gian Luca Barbieri
doaj
, 2003 The key ingredients and influences of Carax's four films (including _Les Amants du Pont Neuf_ and _Pola X_) are examined here: Paris, pop music, flanerie and amour fou, mannerist and neo-baroque aesthetics, the "Nouvelle Vague" and contemporary ...
Daly, Fergus, Dowd, Garin
core
International Journal of Urban and Regional Research, EarlyView.Abstract This article examines the Yeditepe Biennial—Turkey's first Islamic and traditional arts biennial—as a creative festival shaped by the socio‐political and spatial dynamics of Turkish‐Islamist nationalism. Counterposed against the Istanbul Biennial and the Western‐oriented secular cultural legacy of the Turkish Republic, the Yeditepe Biennial ...
Hulya Arik, Sabrien Amrov
wiley +1 more source
Studia Anglica Posnaniensia, 2015 The study is a close reading of Moore’s poem “The Fish” (1918) through the conceptual lens of Gilles Deleuze’s trope of the fold, as explained in his influential 1988 study of Leibniz, The Fold: Leibniz and the Baroque. The purpose is to explore Moore’s (
Ambroży Paulina
doaj +1 more source
Baroque néo-mélodique et barock’n’roll. Les identités musicales à Naples dans les années 1970
Cahiers du MIMMOC, 2010 Mon exposé vise à décrire les termes du débat sur l’identité culturelle et politique napolitaine au tourment des années soixante-dix, à travers le concept anthropologique et musical de napoletanità ou « napolétanité » élaboré par les élites musicales de ...
Gius Gargiulo
doaj +1 more source
Festines neobarrocos. El menú literario entre el exceso y el populismo (José Lezama - Laura Esquivel - Juan José Saer) [PDF]
, 2008 Este trabajo analiza tres novelas latinoamericanas (de José Lezama Lima, Laura Esquivel y Juan José Saer) publicadas en los años 1970/80 en el marco del post-boom, bajo el signo de una escritura ‘neobarroca’, y relacionadas con sendos festines ...
Ingenschay, Dieter
core +1 more source
Macau as Method: Recombinant Urbanism in Post‐Socialist China
Asia Pacific Viewpoint, EarlyView.ABSTRACT In ‘Asia as Method’, Chen Kuan‐Hsing argues for the value of an indigenous inter‐Asian approach to analysing the effects of European imperialism on the countries and citizens of Asia. This article mobilises both Chen's inter‐Asian referencing strategy and the city‐state of Macau to explore Macau's role in China's engagements with global ...
Tim Simpson
wiley +1 more source
National Endeavour or Local Identity? : Art Nouveau Town Halls in Hungary : Strand 1: Art Nouveau Cities: between cosmopolitanism and local tradition [PDF]
, 2013 In central and Southern Hungary fast urban development began in the 19th century and accelerated at the turn-of-the-century as a striking phenomenon comparing to the urban centers in the Northern Hungary.
Székely, Miklós
core
‘I'm Dead!’: Action, Homicide and Denied Catharsis in Early Modern Spanish Drama
Renaissance Studies, EarlyView.Abstract In early modern Spanish drama, the expression ‘¡Muerto soy!’ (‘I'm dead!’) is commonly used to indicate a literal death or to figuratively express a character's extreme fear or passion. Recent studies, even one collection published under the title of ‘¡Muerto soy!’, have paid scant attention to the phrase in context, a serious omission when ...
Ted Bergman
wiley +1 more source