45,651 matches
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He’s still with uș/ În our arses, în our food, în our brains and în our death/ În our failure to grab hold of what fucking little we have left/ We have lost the sight and în the loss of sight/ We have lost our fucking minds, alright/”. În În Quiet Streets, the chorus “That’s the angle” honestly captures the all-too-quiet streets of the lower classes, of ”nowhere money în nowhere land”. Jason uses an awesome metaphor when talking
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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Streets, the chorus “That’s the angle” honestly captures the all-too-quiet streets of the lower classes, of ”nowhere money în nowhere land”. Jason uses an awesome metaphor when talking about how the labor force is șold. He compares the workday of a worker with selling dreams and selling our souls by putting them în a nursery: ”We puț our souls în nursery for the day/ Pick ‘em up after work, take ‘em home/ Try ‘n get ‘em în bed tucked up
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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în bed tucked up before 10 o’clock”. Eventually, we are ”the wooden horses on wooden race courses at fairs”, trapped like hamsters, on the one hand, and on the other, support for the world of the “carnival, the spectacle” of those who can afford the merry-go-round and ride uș. Williamson is not a fan of “the perfect song”, of the aesthetics of the hit single, when it comes to writing lyrics. This is why Key Markets might sound a bit
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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music shouldn’ț be, Jason’s criticism of the commodification of art being evident. “Radio edit, oh it’s șo nice” is also a hint at the lack of relevant topics în media distribution, at the embourgeoisement and political neutralization of pop culture. Breaking free from the positivism and catchy spirit of brit-pop is not just a stylistic choice, but also a personal one: ”Spitting ouț fine cheese made by the tool from Blur/ Even the drummers a fucking MP, fuck
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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art being evident. “Radio edit, oh it’s șo nice” is also a hint at the lack of relevant topics în media distribution, at the embourgeoisement and political neutralization of pop culture. Breaking free from the positivism and catchy spirit of brit-pop is not just a stylistic choice, but also a personal one: ”Spitting ouț fine cheese made by the tool from Blur/ Even the drummers a fucking MP, fuck off you cunt, șir/ Die trying whilst the others just live
No one’s bOthered () [Corola-website/Science/296153_a_297482]
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de teme societale actuale, elaborarea de mecanisme consultative prin care publicul alege segmente din repertoriu. Spectacolele lui Oliver Frljić - Our violence and your violence în programul festivalului Temps d’Images 2016, Komplex Ristić</strong> și <strong>Damned be the traitor of his homeland! </strong>comisionate de teatrul sloven Mladinsko - sunt viscerale, transgresive, excesive, dense, ireverențioase, generate de o dialectică a construcției și deconstrucției. Goran Injac, director artistic al teatrului Mladinsko și dramaturg al spectacolului <strong>Komplex Ristić</strong> ne explică geneza
Instituțiile publice de cultură - niște frigidere în care cultura stă la rece? -Partea a-II-a () [Corola-website/Science/296171_a_297500]
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then it was called “privată” [private]; there were two or three toilets în the yard, if I remember correctly. I remember the furniture: în the bedroom there were my parents’ bed, two more beds, a wooden wardrobe and a sort of storage box. În the living room there were a table and some chairs, a small buffet and a washstand; the latter was a tripod with a washbowl în the middle and a place to hold a cup. We would use
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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back to 1925-26. [caption id="attachment 3628" align="aligncenter" width="580"] Photo: Marc Teuscher[/caption] Lippa Segall I was born în a house on 53 Unității Street, the Jewish quarter în Dudești neighbourhood [Bucharest]. The house was relatively high, solid, made of brick, and contrasting with the surrounding houses. It hâd an iron fence, a yard and an orchard. Initially, around the time I was born and before our house was partly confiscate, the entrance was covered by a marquee. [...] The first
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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two small rooms, the kitchen, the bathroom, shower and toilet. We hâd two exits towards the yard. The second exit was through the kitchen, towards the paved yard. În the yard we used to make the magiun [a special sort of jam], which was then deposited either în the well stocked storage room, or în the cellar. The kitchen hâd a small țin boiler. At some point, the boiler broke and became useless. We hâd a cast iron cooking stove and
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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very stable and a sort of attic more like a loft. It was made of bricks aș well aș the house, and it was suitable for housing someone. But în fact that’s where we kept the books, a lot of them. My dad was passionate about having books and our bookshelves were insufficient, șo he would store the books în the attic. After the cuziștii [supporters of A.C. Cuza extreme right-wing party] beat my grandma to death and destroyed his
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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someone. But în fact that’s where we kept the books, a lot of them. My dad was passionate about having books and our bookshelves were insufficient, șo he would store the books în the attic. After the cuziștii [supporters of A.C. Cuza extreme right-wing party] beat my grandma to death and destroyed his house, my grandma moved în with uș în Bucharest. Șo initially we were four people în the house, plus Valeria, who was sort of a maid and
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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the cuziștii [supporters of A.C. Cuza extreme right-wing party] beat my grandma to death and destroyed his house, my grandma moved în with uș în Bucharest. Șo initially we were four people în the house, plus Valeria, who was sort of a maid and nanny, brought by my mom from Bucovina. Valeria was no older than 15. She hâd her own room on another side of the building în the same yard, but she didn’ț like it there, șo she
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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șo she slept în the kitchen, where it was nice to be, especially aș it was closer to the jars with goodies în the kitchen cellar. Later she hâd a boyfriend and she would take him to the cellar. But of course, she hâd to go back to Bucovina în 1941, when the Jews were forbidden to have maids. It was difficult for her to separate from my mom. Valeria was close to my mom, and my mom was a kind
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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dad was never unhappy with the places we were living în. Then we moved on Herescu Năsturel Street; then în the central commercial district, on Șelari Steet, where I went to kindergarten. We hâd a flat on the highest floor of a house. My dad’s tailor workshop was there aș well. The workshop was called “Manole and Ionas”: Manole was my dad; Ionas was his associate, his best childhood friend. I attended the first grade at the Catholic School, and
O istorie subiectivă a locuirii în România, din perspectiva rezidentelor și rezidenților căminului „Moses Rosen”. PERIOADA INTERBELICĂ: ANII 1920 - 1930 () [Corola-website/Science/296134_a_297463]
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6. A graffiti made by the graffiti artist Banksy is seen on Israel's highly controversial West Bank barrier in Abu Dis on August 6, 2005. Banksy has made a name for himself with provocative images stencilled around the streets of London.On his recent trip to the Palestinian territories he has created nine of his images on Israel's highly controversial West Bank barrier. (Photo by Marco Di Lauro/Getty Images)[/caption] Maya a plecat din Irak în urmă cu
Fețele nevăzute ale războaielor () [Corola-website/Science/296177_a_297506]
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spân lang="en-GB">BOR</spân><spân lang="en-GB"> itself, aș an institution. This happens </spân><spân lang="en-GB">right</spân><spân lang="en-GB"> after the Coalition for The Family gathered 3 million signatures on a petition to change the definition of marriage în the </spân><spân lang="en-GB">Romanian </spân><spân lang="en-GB">Constitution - thus to specifically stipulate that a family is based on the union between “a mân and a woman”. My existence and my comrades’ existence, aș queer women
Marș, B.O.R.! () [Corola-website/Science/296180_a_297509]
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en-GB"> a</spân><spân lang="en-GB">me towards uș. We turn</spân><spân lang="en-GB">ed</spân><spân lang="en-GB"> around to leave, and I fel</spân><spân lang="en-GB">ț</spân><spân lang="en-GB"> kicks în the back, some of them with boots. There</spân><spân lang="en-GB"> was</spân><spân lang="en-GB"> a lot of police around, riot police, many families with children and many priests, but nobody intervene</spân><spân lang="en-GB">d</spân><spân lang="en-GB"> în
Marș, B.O.R.! () [Corola-website/Science/296180_a_297509]
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lang="en-GB">re chasing uș to beat uș up. They ask</spân><spân lang="en-GB">ed</spân><spân lang="en-GB"> uș whether they should call the police. No, don’ț, I was beaten up earlier while surrounded by a șea of policemen and they didn’ț raise a finger. The idea that police protects uș is an illusion. We call</spân><spân lang="en-GB">ed</spân><spân lang="en-GB"> a taxi, we </spân><spân lang="en-GB">went</spân><spân lang="en-GB
Marș, B.O.R.! () [Corola-website/Science/296180_a_297509]
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pentru înțelegerea pozițiilor noastre și a felurilor în care le putem articulă, în interiorul unei mișcări cu aceeași direcție emancipatoare. 1 O expunere pe larg a felului în care a evoluat discursul UE privitor la romi, în articolul The Racialization of Romă în the „New” Europe and the Political Potențial of Români Women, de Enikő Vincze: http://www.analize-journal.ro/library/files/5 - eniko vincze fin.pdf 2„Oamenii știau că e o problemă cu fata asta. Se pare că a fost și la
Dreptate pentru Szomna Grancsa () [Corola-website/Science/296189_a_297518]
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prin acest spectacol, și în numele meu.</spân></spân></spân></spân></spân></p> 1 Traducerea mea pentru: “Moving from silence into speech is for the oppressed, the colonized, the exploited, and those who stând and struggle side by side a gesture of defiance that heals, that makes new life and new growth possible. It is that act of speech, of “talking back,” that is no mere gesture of empty words, that is the expression of our movement from object to subject—the
Cronica Spectatoarei - Meraptuchi, Giuvlipen! () [Corola-website/Science/296190_a_297519]
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la cele de sus lipsa de funcționalitate (practică), cunoaștere, estetică. Britannica Online definește arta ca "îndemânare și imaginație în creația de obiecte, medii ambiante sau experiențe estetice care pot fi împărtășite" ("the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others.") Definiția și evaluarea artei a devenit problematică mai ales de la începutul secolului 20. Richard Wollheim face distincție între trei moduri de acces: realist, unde calitatea estetică este o valoare
Artă () [Corola-website/Science/296545_a_297874]
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Mabel Noemand, Mae Marsh", precum și regizori ca "Mark Sennet" și "Erich von Stroheim", iar ca operator, renumitul epocii, "Billy Bitzer". După anul 1913, pleacă de la „Biograph” la "„Reliance-Majestic”", apoi devine "independent". Realizează astfel "„Judith of Bethulia”" (1914), controversatul "„The Brith of a Nation”"(Nașterea unei națiuni) (1915) și "„Intolerance”" (Intoleranță) (1916), filme care-l fac "cel mai mare producător american de film". Vorbind despre filmele "The Brith of a Nation" (Nașterea unei națiuni) și "Intolerance" (Intoleranță), acestea sunt strâns legate între
Film () [Corola-website/Science/296538_a_297867]
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Reliance-Majestic”", apoi devine "independent". Realizează astfel "„Judith of Bethulia”" (1914), controversatul "„The Brith of a Nation”"(Nașterea unei națiuni) (1915) și "„Intolerance”" (Intoleranță) (1916), filme care-l fac "cel mai mare producător american de film". Vorbind despre filmele "The Brith of a Nation" (Nașterea unei națiuni) și "Intolerance" (Intoleranță), acestea sunt strâns legate între ele privind realizarea și prezentarea lor publicului. Primul apare cu o reclamă care i-a făcut pe mulți să-l acuze pe Griffith de rasism. Afișul filmului
Film () [Corola-website/Science/296538_a_297867]
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denumite "mecanisme de reacție", fiecare având o "viteza de reacție" diferită. Many reaction intermediates with variable stability can thus be envisaged during the course of a reaction. Reaction mechanisms are proposed to explain the kinetics and the relative product mix of a reaction. Many physical chemists specialize în exploring and proposing the mechanisms of various chemical reactions. Several empirical rules, like the Woodward-Hoffmann rules often come în handy while proposing a mechanism for a chemical reaction. Conform IUPAC, o reacție chimică
Chimie () [Corola-website/Science/296531_a_297860]
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species." Accordingly, a chemical reaction may be an elementary reaction or a stepwise reaction. An additional caveat is made, în that this definition includes cases where the interconversion of conformers is experimentally observable. Such detectable chemical reactions normally involve sets of molecular entities aș indicated by this definition, but it is often conceptually convenient to use the term also for changes involving single molecular entities (i.e. 'microscopic chemical events'). Energia este considerată a fi un atribut al unei substanțe rezultat din
Chimie () [Corola-website/Science/296531_a_297860]