998 resultados para Anthony Munday


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Based on the reflections of Habermas and his conception of modernity, understood as an unfinished project, Giddens stresses that in all societies the maintenance of personal identity and its connection to broader social identities is a primordial requirement for ontological security. To achieve ontological security, modernity had to (re) invent traditions and get away from genuine traditions, that is, those values radically linked to the pre-modern past. This is a character of the discontinuity of modernity, the separation between what is presented as the new and that which persists as the legacy of the old. This article discusses the relationship between tradition and modernity and the dialogue between Giddens and Habermas. The goal is to identify the points of contact and the differences in the theses defended by both authors, in order to assess their contributions to discussions of the rationalization of contemporary societies. Late or reflexive modernity is an uninterrupted process of changes that affect the foundations of Western society. Faced with a reality of constant change, it is necessary to choose between the certainty of the past and a new reality of continuous change. In this sense, and according to the Habermasian perspective, the reflexive character of modernity is found in this process of choosing between the certainties inherited from the past and new social forms, a process that that leads to the reflection on - or even the recasting of - social practices, causing the rationalization and (re) invention of various aspects of life in society.

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In his interview with Daniel Lee, Anthony DiGiorgio recollects the impact Hurricane Hugo had on Winthrop University and the Rock Hill Community. DiGiorgio discusses weather reports leading up to the hurricane, his personal experience with the storm, and the aftermath of Hugo on campus. DiGiorgio shares the ways in which Winthrop University assisted the community and its faculty and staff. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

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Signatur des Originals: S 36/F05689

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Todo director cinematográfico construye su estética a partir de la(s) temática(s) que aborda y de toda una serie de recursos (económicos, artísticos, entre otros) que posee en el momento en que se lleva a cabo una filmación. Anthony Mann no escapa a esta regla. En 1961, filma en España El Cid, basada en la leyenda de Rodrigo Díaz de Vivar, célebre personaje históricoliterario. En ese entonces, este director cuenta con la posibilidad de incluir en los roles principales a figuras consagradas de la meca del cine: Hollywood. El papel del héroe cristiano español es interpretado por Charlton Heston y el de su esposa, Jimena, por Sofia Loren. Es probable que Anthony Mann haya utilizado determinados recursos cinematográficos en el afán de destacar/aprovechar la presencia estelar de dichas figuras. Este trabajo intentará analizar el uso del primer plano en el discurso de este filme y se tratará de explicar la construcción de la estética de este director considerando, además, la expectativa del público de la época en que se produjo la realización de dicha película.

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Fil: Prati, Marcelo. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

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Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

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Fil: Prati, Marcelo. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

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Fil: Fernández Deagustini, María del Pilar. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.