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She needed help making the nine-hour road journey. Inhibiting its growth at such an early stage in its inception is unfair, and we deserve the chance to get established. This principle — through tossing the image this way and that — is used in The Seven Tests — as well, which is heretofore the most monumental, most exciting, and most problematic film by Maurer. The Muslim Brotherhood does not want a civil war, he said.

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Metaphor is a fundamental aspect of our mental activities. Cognitive domains are metaphorically structured: a target domain is structured and understood with reference to another, more basic source domain.

See also C above. In the case of the English ditransitive, the source domain is the caused-motion construction, whereas the target domain is the transfer-caused-motion construction as is illustrated by the following utterances describing physical movement resulting in the refe- rent of the subject coming into or losing possession.

He lost his house. Suddenly several thousand dollars came into his possession. Constructions are independent entities in grammar: if one construction is con- ventionalized, it becomes a pattern that might be extended to other elements of vocabulary.

Simple clause constructions are associated directly with semantic structures which reflect scenes basic to human experience. The transfer of objects from human to human is a basic expe- rience: human society is based on it.

The polysemy of lexical items and constructions is an essential feature of lan- guage otherwise, the finite human brain would not be able to describe the infinite world. In the ditransitive construction, there appear verbs which refer to the transfer of concrete physical objects, but also messages Fax me your answer or artistic experiences Sing me a love song and the transfer itself may be actual or intended.

The lexical item contains the grammatical environments in which it may occur.

Generative theories have a problem in ing for the appearance of verbs representing two-place predicates Jill baked Jack a cake.

In order to give an explanation for this and comply, at the same time, with the Projection Prin- ciple, they have to postulate unlikely verb senses such as X bakes Z intending Y to have it, which would appear only in this structure.

For this problem, construction grammar offers a more plausible solution: the di- transitive construction is associated with agent, patient, and recipient roles, and verbs of creation like bake are associated with the construction itself. To sum up, while several basic principles are shared by cognitive and construc- tion grammars continuum between grammar and lexicon, a holistic approach, the radial structure of syntacticthe idea of cognitive construal, the existence of idealized cognitive models, the fundamental role of metaphor in language, polysemy of lexical items and constructionsa basic difference is that whereas cognitive grammar does not subscribe to the division of semantics and pragmatics, construction grammar separates these two levels in the investigation of linguistic facts.

Cognitive Linguistics Chi- cago: University of Chicago Press. Language 65, Cognitive Linguistics Research Berlin; New York: Mouton de Gruyter. He was the first Librarian of the Scottish Poetry Library and subse- quently held visiting posts at the universities of Grenoble StendhalConnecticut, and North Carolina at Asheville.

During my first professional visit to Hungary in the spring ofI was amused to dis- cover that Scottish life and culture had not gone entirely unnoticed by at least two major figures of the Hungarian fin-de-siècle.

I am not referring to the more recent fin-de-siècle but to the more stylish one before that: the years leading up to and a little beyond. In the course of a short story which appears in a translated collection published by Corvina of Budapest, Endre Ady makes a rather cheeky reference to the puritanical virtues to be found in the Scottish hills Ady Rippl-Rónai and Pitcairn-Knowles had collaborated with the Belgian Symbolist writer Georges Rodenbach on a t literary-visual arts publication.

Normal- ly, an image illustrates a text, but here the images by the two artists were to be illustrated verbally by Rodenbach. Now it is in this context that I found yet another Hungarian being cheeky about the Scots; this is how Rippl-Rónai contrasts his contributions to the project with those of Pitcairn-Knowles: My drawings will be in color, reproduced by lithography from stone slabs ; those of my Scottish friend will be cut in wood…His pictures are sad, mine are cheerful; his remind me of death, mine inspire pleasure in life; his are evocative of winter, mine of summer.

However, I would like to suggest that we ought to ques- tion certain assumptions, held by Scots and non-Scots alike, that the former have been, and continue to be, in the grip of something called Calvinism—this ogre which terrorizes us, and supposedly drains the life out of us.

It seems to me that this attitude, curiously enough, serves to reinforce the dread doctrine of predestination, and allows us to perpetuate self- fulfilling stereotypes.

I would suggest to you that we Scots have used Calvinism as an excuse for many of our failings. If we do not blame the English, we blame Calvinism for our reluctance to recognize and enhance our existing contributions to the cultural and scientific well-being of our fellow-citizens on this earth.

Undoubtedly, Calvinism has had adverse effects on the Scottish psyche, if there is one. If we consider ourselves to be mere worms under an all- powerful and all-determining God, we are hardly going to have the confidence to assert ourselves.

The doctrine which divides mankind into the Saved and the Damned must en- courage a Manichaean, dogmatic, sectarian mentality, and can only reinforce our tendency to be a richly diverse but yet sadly fragmented country, in cultural terms.

Cohen Calvinism as it developed as a cultural force as distinct from a theological sys- tem—that is to say, Calvinism as a web of behavior and customs in this world—seems to have got itself into a terrible tangle concerning free will versus predestination, justification by faith or even justification by an austere ethic of good works.

The Orkney-born poet Edwin Muirwho translated Kafka, demonstrated simi- larities between Calvinism and Bolshevism-in-practice; as a British Council lecturer in Central Europe during the s and s he witnessed—and this was rare for a Scot at the time—the rise of totalitarian régimes.

And like Foster's, its exotic far-flung heritage is Flash táncosok gentlemens club cambridge at elephantine volume Indian elephants are also embossed onto Cobra bottles.

Jekyll and Mr. Hyde Jekyll can retain his pious, respectable position in Victorian bourgeois society while creating a separate identity for his internal demons. By means of a drug he can be transformed into the evil little Mr. He seems to be saying to himself: that is not me as Dr.

Jekyll who commits these unspeakable acts, it is someone else, Mr. Hyde, and as Dr. Jekyll I can proceed with impunity. But of course it cannot work out like that.

The devil Mr. Hyde must inevitably stake his claim against Jekyll, who has effectively entered a Faustian pact. The city itself was an embodiment of Jekyll-and- Hyde duality. Stevenson sought his own personal liberation from middle-class Presbyterian Edinburgh, and in his youth attempted to find it in the pubs and brothels of the city.

Guilt, though, would drive him back to his stern if loving father.

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We are at the point where Calvin meets Freud—and even Jung, for Dr. Hyde is a parable of the deliberate fragmentation of the personality, a rejection of the wholeness which one would have thought to be the proper course for a professional healer such as Jekyll.

We arrive at a divided Scotland, with divided Scots. It has been said that if Freud had known anything about Scotland and its obsessive-compulsive neuroses, he would have left Vienna immediately and taken on the whole of Scotland as his collective patient.

Liam replied that the Irish would offer a strong challenge, and referred to his own Catholic upbringing. It may be, then, that features we ascribe exclusively to Calvinism may actually be shared by other Christian traditions.

So: is there an alternative to these horrors? To answer this, we might care to investigate some of the actual benefits that Calvinism can offer. As a good Frenchman, he enjoyed his glass of wine.

He would not have denied that the gifts of God, if sensuously but moderately enjoyed, could bring us nearer to Him. Calvin was not a Puritan; Puritanism was very much a later development.

In practice, Calvinism has not always been oppressive. Often it has been immensely liberating. Calvin maintained that if the law of God conflicted with the law of the State, believers had the right to defy an op- pressive government.

The great struggles for land reform and ecclesiastical democracy in the nineteenth century were fuelled by such radicalism.

Thirdly, Calvinism in Scotland may have frowned on the theatre, but its mythology of devils, witches, warlocks, bogles, sin and damnation has empowered the Scottish imagination to such a degree that we can honestly say that, without Calvinism, the arts in Scotland would have been immeasurably more insi- pid.

Robert Louis Stevenson owed an artistic debt not only to Dostoyevsky—he was read- ing Crime and Punishment around the time he wrote Jekyll and Hyde—but also to his nurse Alison Cunningham, a Fife woman who was a staunch Calvinist. This all gave him nightmares, and indeed it was a nightmare that released much of the creative energy for the making of Dr Jekyll and Mr.

Consider, too, the cadences of the King James Bible, as well as the eloquence of pulpit preachers, and how they are echoed in the work of writers who have come from the Calvinist tradition. Far from claiming this as a Scottish monopoly, I would point to New England and to two American greats such as Hawthorne and Melville, writers much ad- mired by Stevenson.

I will indulge in a bit of chauvinism, though, by pointing out that a direct ancestor of Melville was a Fife man: the Reverend Thomas Melville was the minister of Scoonie Kirk in present-day Leven. I would propose, then, that both Scots and observers of the Scots ought to stop regarding Calvinism as the bogeyman on which everything negative can be blamed.

In- stead, I will attempt to show that Scottish visual art and music, at the end of the nineteenth century and the beginning of the twentieth, are at their strongest when they display a syn- thesis—or, better, a tension—between puritan restraint and sensual energy.

That is a quintessentially Scottish oxymoron. There is a great love of contrast, of contradiction, in Scottish culture.

Take, for example, the compositions of Sir Alexander Mackenzie His Quartet for Piano, Violin, Viola and Cello, published in Leipzig, was written inat the time when young Robert Louis Stevenson was skipping classes at Edinburgh University in his earnest attempts to become a bad boy.

Mackenzie came from a musical family. He tells us in his memoirs that the family would play music on a Sunday; in nineteenth-century Scotland you were not supposed to do anything on a Sunday except worship God. Purser passim, as with future references in this paper to musical examples.

Indeed, his sensuality is the stronger for the counterforce of Scottish Victorian restraint. Scottish Dionysus tempered by Scottish Apol- lo, to put it in the Nietzschean terms with which John Davidson would have been familiar. Mackenzie wrote a Britannia overture based on Britannia ruling the waves.

It is surprisingly unbombastic. Yet another Hungarian being cheeky about a Scottish artist, but one suspects that Mackenzie would have been amused rather than offended.

A more important Mackenzie work, though, is his oratorio The Rose of Sharon A predictable source for a pious Scotsman, one would think. But Mackenzie was not interested in theology. His Old Testament inspiration is the Song of Solomon. William Wallace lived from to Wallace introduced a Hungarian invention— the symphonic poem—to Scotland.

This form was invented by Liszt, and applies to an orchestral work which follows a broadly narrative program. He was a native of Greenock on the Clyde Estuary, west of Glasgow, and the son of a shi- pyard owner.

He is more obviously patriotic than Mackenzie or Wallace, though it must be said that Mackenzie was a pioneeringly national composer, and his markedly Scottish Piano Concerto was publicly performed by Paderewski. In the twentieth century, there were calls by MacDiarmid and others for Scottish music to follow the lead of Bartók and Kodály, that is to proceed on the basis of a more systematic and scientific absorption of folk music.

So if McCunn is our McDvořák, we had to wait well into the twentieth century for our McBartók, but we were lucky to acquire a plethora of such, in the persons of Francis George ScottErik Chi- sholm and Ronald Stevenson b. Finally, let us address ourselves to the austere intoxications of the painting, de-and architecture of the period.

The painter William McTaggart grew up in Argyll, a dramatically coastal region in the west of Scotland. McTaggart is still wrongly labeled the first Scottish Impressionist, but he devel- oped his style independently of Monet and his French contemporaries of the s. There is much more movement, more drama in McTaggart than in the relatively quieter, more sedate work of the French Impressionists.

There are usually human figures in a McTaggart canvas, and they relate intimately to the natural environment. Above all, there is the power- fully elemental meeting of land and sea. His masterpiece, The Stormexemplifies the dark intensity of the Scottish imagination. It could serve as a visual counterpart to many fictions by Robert Louis Stevenson, for example, at those points where there is a desperate escape by sea, as in The Master of Ballantrae or Catriona Symbolism and Art Nouveau Jugendstil, Secessionism offer challenges to the sobrieties—and pieties—of Calvinism.

A protégé of the polymath and impresario Patrick Geddes, John Duncan shows how a Scottish Symbolist may deal with the traditional iconography of a Celtic country; one image in particular is sited permanently in a place associated with religious intolerance.

There is also a snake, reinforcing the representation of the first couple, and who could be either the fiend in Paradise, or the Celtic serpent of wisdom, or even both. Symbolism cannot answer all that for certain.

It does far better than that: it suggests. A pupil of John Duncan, and like him a native of Dundee, was George Dutch Davidsonwhose haunting self-portrait, while unique, evokes a Scottish Ed- vard Munch.

For me, this is the image of Scottish Symbolism and ought to be used as the cover of a paperback edition of Dr.

It is very much a step in the direc- tion from a Calvinist to a Freudian psychology. There, and in Paris, there prevailed a hedonistic ambience absent in Scotland and also a quality of light and color unavailable to them in the mists of home.

So, of theirSamuel Peploe evoked the landscape of Cassis, on the coast near Marseille, and Francis Cadell—a Scot of French ancestry—ventured further east with his shim- merings of St. In he left Glasgow for good, having had enough of being dismissed as an alcoholic crank.

It must be stressed, though, that there were those in Glasgow who actively championed his work and they deserve our infinite gratitude for commissioning the master- pieces which can still be seen in the city.

His masterpiece of masterpieces is the Glasgow School of Art, whose new building he was called to de in This work marks the beginning of European modernism.

However, that counterpoint is ificant in a more spe- cifically Scottish sense, in the terms discussed throughout this paper: the synthesis of, the tension between, puritan restraint and sensual energy—austere intoxication.

A filmnéző számára persze közvetlenül nem derül ki, hogy a saját arányrendszerét egy hosszú, padlóra kigurított papírcsík felhasználásával mérő és jelölő személy maga a filmkészítő, Flash táncosok gentlemens club cambridge ahogy az sem, hogy a felvétel az idő és hely mellett tematikájában is szorosan kapcsolódik.

Minimalism, in the manner of a pared-down austerity, is associated with Japanese style.

One might well experience some netherward discomfort after sitting on a Mack- intosh chair, and yet doubt that the man himself ever intended any Calvinistic-masochistic mortification of the flesh. Neighbours in the Night: Selected Short Stories. Judith Sollosy. Budapest: Corvina, Harmondsworth: Penguin, Charles Rennie Mackintosh.

London: Thames and Hudson, Sentences and Paragraphs. London: Lawrence and Bullen, William McTaggart Edinburgh: National Galleries of Scotland, Reprinted as a pamphlet with appen- dices Dundee: Dundee Art Gallery, Scottish Painting Budapest: Ernst Múzeum, San Francisco: Po- megranate Artbooks, Hyperion Records, Collected Poems Michael Grieve and W.

Orchestral Music. The Romantic Piano Concerto, Vol. Brian D. Osborne and Ronald Armstrong. Edin- burgh: Birlinn, BBC Radio Scotland, Symphonic Poems.

Creation Symphony. He has taught German with the Univer- sity of Maryland and has been teaching courses in American Studies and writing at the University of Miskolc since He recently defended his doctoral dis- sertation on 19th-century African American literature at the University of Debrecen.

He gave a talk on religion and the popular novel in America on 12 April in the Re- search Forum. The changes in thinking wrought by postmodernism have influenced not only the way we view the world around us but also how we think about ourselves.

The idea of a unified identity, as well as Romantic notions of a fractured self, have evolved in the postmodern era into a sense of the individual as a purely social construct.

Michel Foucault, for instance, sees the modern individual as defined essentially by various social discourses, while Gloria Anzaldúa uses the metaphors of la mestiza and the borderlands to describe how individuals and cultures form their consciousness.

In other words, the individual is not a stable entity based on a single identity, but rather a pastiche, a product of diverse and con- stantly changing selves. Pastiche is also a term applicable to Harriet E. At the time of its rediscovery incritics such as Henry Louis Gates, Jr.

This blending of literary fiction with autobiography is ificant, for the various genres constitute the building blocks with which Wilson interprets the incidents in her own life and then fashions a pluralized identity for her protagonist. Additionally, her balancing act between adherence to genre and the details of her own life when discussing religious beliefs—or the lack thereof—sheds light on one of the problematic aspects of the slave narrative genre, the question of editorial intrusion.

Additionally, Barbara A. This reshaping of real events suggests that Wilson was attempting to redefine her own life story and thus take control over her life. That the shape conformed more closely to the patterns of the sentimental novel comes as no surprise; the genre was one of the most popular in nineteenth-century America.

A small group of sympathizers crystallizes in the background, but these supporters are not always able to rescue the he- roine from her plight In thus reconfiguring the characters of her adolescence according to groupings characteristic of the sentimental novel, Wilson is constructing for Frado the identity of a character in such a novel.

Of course, not all the particulars of Our Nig fit into the patterns of the sentimen- tal genre. The physical cruelty evident in Our Nig, which is even more graphic in its depic- tion than Emily Brontë dared in Wuthering Heightsbrings the novel closer to the realm of the slave narrative.

The physicality of the beatings marks the intersection of the sentimental and slave narrative genres; it is here where both genres try to enlist the sympathies of their audiences, the for- mer fictionalized and intended to evoke self-pity in the reader, the latter based on reality and aimed at awakening empathy for others.

The two genres would have been both a conscious literary model and a recipe for increasing sales, which unfortunately never occurred. Equally important for Wilson, however, is that the two genres help establish her credentials as an author.

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It is an identity based not only on gender—via the sentimental novel—but also on race. The parentless young girl of the sentimental novel becomes, when shifting the generic prism, the exploited and debased young African American of the slave narrative.

Her manipulation of slave narrative conventions thus allows her to create a self that is outside the persona of the powerless sentimental heroine; in her racialized pseudonym, she is both oppressed and defiant at the same time.

Julia Stern, for example, sees Our Nig as a primarily gothic novel in which Wilson is chief- ly examining the mother-daughter relationship, with herself alternately on both sides.

It is in the attempt to interweave the religious aspects of the slave narrative into her novel that Wilson introduces a contradiction into the text, one which underscores the problem of authorship in this antebellum genre.

Additionally, Wilson does not fail to present the typical contrast found in slave narratives between a white hypocritically pro- fessing religion and a black displaying a simpler, purer religious urge. Earlier this year Princess Cruises was the first to launch a ship with a cantilevered walkway extending over the sea so that passengers can see the ocean beneath their feet.

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He's pledged to do the opposite: He won't bring anything to the House floor that cannot garner a majority of his caucus's support. From legendary boxers and iconic tennis players to golfing greats and fabled Olympians, the Daily News has the photos you want of the once-in-a-lifetime sports moments.

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I think he must mean his loyalty to the needs of the Republican Party take precedence over any commitments he might wish to make to the American people. It may learn bySeptember whether the Federal Reserve will allow it to keep itsbusiness, including the logistics unit TransMontaigne.

Juba denies backing insurgents. What was our most fundamental essence that allowed us to be, express and function in all the wondrous ways that we do? I knew the answer had to lie in the brain, the most complex and mysterious organ in the body and the one that held the most promise for unearthing the origin of our unique species.

I toured universities in the U. I devoured every piece of knowledge I studied, mesmerized by the wonders of the brain. Actor Lucas Cruikshank, 19, gained fame after his viral videos of the character Fred Figglehorn gained popularity among the younger set, catapulting him to regular spots in TV movies and sitcoms on the network Nickelodeon.

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Third, we must clearly identify the fine-art strivings from which Maurer further developed her films.

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The most important such notion is the versatile application of the principle of displacement in etching: the gradual.

This way, film is little else than the representation of continuity between the static phases of fine-art displacements. Less directly, the principles of leaving a trace and of imprinting also pertain to films, especially when combined with displacement.

For a creative artist, every object is ultimately also an imprint, a brushstroke and a graphic print alike.

Some early works by Maurer, however, examines tracing processes in which a continuously repeated movement produces prints that are barely noticable at the outset but slowly become more marked such as footprintsor a sequence of minimal natural changes there to be recorded.

This recording, of course, can be both a photo or a moving image. The beginnings were characteristically amateurish back in ; no long-term consequences could have been drawn from them.

Subject: teeming sparrows on a tree. This video was declared a film later. I had planned a whole series of minimal movements on film, such as leaves quivering on twigs, with all other leaves motionless; dirt in the street whirling in the wind in nooks of buildings; objects moving on waves of water, etc.

In the meantime, Maurer had produced a of photo sequences individual artworks as well as preparatory studies for the film and learned how the phases of a movement, if ordered randomly, may yield motion series of a custom direction and ificance.

He is chewing on his lips, grins cynically at a passage, slips down on his chair, pulling the book away from the camera, curling his hair. Reading is his measurement of time, he repeats the movements which had first been truly spontaneous, as I photographed and even timed them fairly accurately by quality and quantity, from the beginning of the movement, at increasing spans of duration.

Even at this level, the choice of experimental film may be decisive. Accidental shifts or coincidences may appear as welcome surprises in such films, just like in repetitive music.

Its looser and more poignant use emerged in Remembering This work has not proved particularly lasting, perhaps because the triple parallels and contrasts in sound and image seem overcomplicated. Yet it continues potentially to inspire new directions — such as a new type of narrative film, for instance.

This work might as well be considered an instructive film in terms of lighting, camera movements, and movement in front of the camera, were it not for something much greater: the realization of a new form of filmic movement.

The three elements are a suspended lamp, a paper cylinder lit by that lamp, fixed on a suspended wooden plane, and the camera itself — all three in a state of rest or in a swinging motion.

The following combinations are possible: camera in standstill, moving lamp from the side or from below. On one side of the partitioned screen, we see the film recorded with the camera; on the other, the entire recording situation, synchronically.

Not only can we check how this view came about in the first place but also see an accumulation of the movements of synchronous tracks.

Chronologically more distant, but thematically related to Relative Swings is Triplets, a complementary piece of sorts.

Though first screened inits sketch had been drafted as early as The filmographies of both Dóra Maurer and the Balázs Béla Studio have films of even longer preparatory periods, by the way.

The screen partition continues here as. Tripartite structure effected with masks, horizontal pans of varying length back and forth, starting simultaneously in each partition. The singer improvised freely upon the three picture sections projected in isolation; harmony as well as image totals are determined by aleatory alone.

The musical structuring of films had been an ongoing challenge in the Balázs Béla Studio at least since the launching of the Film Language series.

Unsurprisingly, the first version of Triplets was assisted by Zoltán Jeney, who had presented Round in — a film representing the 12 musical notes in 12 vertical fields using masking solutions and aleatoric image-to-sound connections.

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With some reservations, Aldrin by László Vidovszky can also be deemed aleatoric. Vidovszky also collaborated with Ágnes Háy in Waitinga film brilliantly aligning the s of a dice with sound lengths. In contrast, Miklós Erdély sided primarily with film editing emerging from musical dramaturgy Partita, ; Dream Reconstructions, It was in that Maurer and Zoltán Jeney completed Kalah, an epitome of aleatoric image-and-sound composition so pure that it suggests we ought to speak about an irregularly pulsating process of light and sound determined by probability calculus, rather than a film.

Each is carried by two frames, on the boundary of distinguishability in terms of film time. It is a quite different issue whether an audience ly ignorant of those rules can deduce them from the work alone — or whether such a deduction is even desirable or necessary. This problem arises first when images generate sounds and vice versa; but it becomes particularly intense where, such as in the case of Kalah, both sound and image change due to a third, external, irregular system.

As a spectator, I tend to prefer the latter. It had been drafted back in but executed only in Optimally, the film should be projected onto the sheet used for and in it as an action.

Subsequently, the same process is repeated on a screen divided into two, at some lag, for in effect the halves of two consecutive operations have been juxtaposed using masking. This principle — through tossing the image this way and that — is used in The Seven Tests — as well, which is heretofore the most monumental, most exciting, and most problematic film by Maurer.

I have already hinted at this possibility in Kalah, as the potential gift of coincidence. Here, the structural framework of the film is. The tests are not necessarily imaginative, some are flat or cheaply facetious: come in, sit down, answer tricky questions, eat or drink, bite into a toothpaste cake, try on a costume or wig, etc.

Occasional remarks or giggles from behind the camera are equally off-putting sometimes.

Among the reactions of the test subjects, there are some striking coincidences, while at other times, the expected outcome fails us.

All further joking or posing in front of the mirror gains a tragic overtone, including the comic scenes of face-to-face responses. In itself, the exposure of the characters upon one another may be highly inventive especially if their gestures overlapjust like the desyncing of voices, the parallel images running side by side on the screen, and not least their chiasmic swapping or displacement.

If and when, however, an element even more important than these has occurred, all other features should be rendered subservient to it.

Thus, the film itself has not stood all tests beyond complaint — yet it remains incredibly valuable as far as an overt representation of the conflict between the experimentalist method and a theme Hungarian filmmakers, as a rule, approach with documentarist tools.

Its theme is the transformation of a room with an irregular ground plan into a colour space through the painter superimposing her own strict colour stripe system upon the asymmetrical architecture. This was also its purpose: documenting the creation of a new artwork.

I would subjectively specify further potentials in the deepening of the space-time problems in films, as well as a resolution of the conflict mentioned a few sentences before.

Since Maurer produced a series of films in loose succession that fit in with her investigation of structure and its inherent variability.

Initially, these works were solely committed to the concept of repetition and the measurability of movement, but they increasingly became concerned with a conceptual questioning of the image, closely tied to momentary fragmentations of body, movement and space. Its point of departure is the static shot of a woman Eva.

Buchmüller reading a book while performing various gestures, such as twirling a strand of her hair or placing it in her mouth.

It was recorded in four different takes lasting from 15, 30, and 45 seconds to one minute. These are subsequently played out according to four structural variations involving combinatorial possibilities that include both image and soundtrack: I successively extending the duration of the scene, first showing 15 seconds, then returning to the start and running it for 30 seconds, and so on — culminating in a single pass of the entire duration; II in the form of soundtrack overlays, whereby the first second segment is shown four times in a row, each repetition ed by an additional layer of soundtrack; subsequently the second segment is repeated three times, again with successive soundtrack overlays, etc.

One and the same or better: the repeated, near identical sequence is subjected to a structural analysis. This not only brings the approximate sameness of the repetitions to light, but also reveals the many inextricably related deviations and anomalies inherent in the impression of constant sameness.

A fundamental element of the filmic apparatus is folded in upon itself, namely the white rectangle of the projection screen embodied by a white sheet. The folding of the screen presents the recurring and gradually expanding key to the plot of Timing, while consequently also becoming its ever more deviant measurement of time.

The sheet is initially the size of the screen, or as wide as two arm lengths. It is held up by the artist, who stands in front of a black background and proceeds to fold the sheet seven.

The strictly predetermined process folding a specific sized cloth in half seven times le with each repetition to new variations, or irregularities.

As in the fourth section of Learned Spontaneous Movements, they are presented side by side rather than being superimposed. Time or the measurement of time thereby experiences a transposition into the spatial, whereby the idea of absolute measurability becomes successively subverted; indeed, its relativity is spatiotemporally demonstrated.

To some degree, the naked eye glides into emptiness, incapable of recognizing how rapidly exactly what is being moved in relation to what. But we are assisted by a second static shot documenting the recording process. The reflexive disclosure of how the shot was produced is repeated next to it in a kind of split-screen.

This in a third relational moment that goes beyond the two individual shots and connects them. The entire process is divided into three parts, initially centered on the elementary form of the cone shot of the lamp from the side ; next focused on a circle the lamp shot from below and finally a cylinder the form of a body positioned under the lamp and including its shadow.

In contrast, Proportions focuses on the relativity of various body measurements. Maurer initially spre out a white roll of paper which she lays down on and subsequently marks with the length of her body.

In the subsequent selfexperiment she utilizes the scale provided by this roll of paper to respectively measure foot length, hand width once with fingers spread, once held closedforearm length, arm span, calves — including instep — and finally shoulder width.

She undertakes each of these measurements till she more or less exactly reaches one of the marks on her scale. The test of repeating the measurement process until she. It is based on an old Arabic board game: 72 stones divided between two players are deated with a specific color and tone frequency.

This in a dynamic, ever changing chromatic firework emanating from the center of the image, whereby the color fields appear variously sized with a staccato-like pulse according to the coding, and accompanied by their equally dynamic electronic tonal counterparts.

Things get more physical or, better said, more spatially expansive with Trioletsa film which endeavors to present the idea of the triptych by combining a most diverse array of aspects in as many permutations as possible. Three focal lengths telephoto, normal and wideangle converge with three subjects interior, exterior, human body and are combined with three different tonal pitches as sung by human voices.

The resulting visual collage is horizontally trisected, each individual segment constituted by camera pans involving a variety of velocities and directional movements. They present a respective space or body in perpetual motion, and in such a way that the three panning layers rhythmically displace one another.

They resemble the strokes of a bow dividing the recorded continuum in such a way that it can never be brought to a congruence; as if each space, regardless of how elementary, is continually shaped by the contradictions or displacements that are occurring.

Maurer employs three different techniques of fragmentation — namely partial blocking of the image, narrowing of the image, and zoetrope- like animation. Once again Maurer illustrates the dialectic of systematics she consistently invokes, including its inextricable anomaly.

It is like an untamable surplus of deviance that is hatched along with every system; and it is also like a movement or possibility of displacement that always simultaneously implies apparent stasis.

Ez a film hozható leginkább kapcsolatba zenei jelenségekkel. A film struktúráját az alapmotívum többszöri ismétlése, bővítése és variálása adja. This film is most closely related to musical phenomena. Its structure is defined by the multiple repetition, expansion, and variation of the basic motif.

A film cselekménye minimális: egy fiatal nő olvasás közben apró mozdulatokat tesz: hajtincseit tekergeti, megérinti az arcát, grimaszol. A filmfelvétel előtt a szereplő pontosan megtanulta saját spontán, 60 másodperces mozdulatsorát, amely így számára megismételhetővé vált.

Ennek a mozdulatsornak az első tizenöt másodpercét rögzítették az első felvétel során, az első harminc másodpercet a második, az első negyvenöt másodpercet a harmadik és a teljes, hatvan másodperces mozdulatsort a negyedik felvétel alkalmával.

A képet hang kíséri: Maurer egy Solohov-szöveget mond, amit szintén tizenöt, harminc, negyvenöt és hatvan másodperces részletekben vett fel. The plot is minimal: a young woman, while reading a book, makes small gestures: she grimaces, curls her hair, touches her face.

Before the shooting, the actress learned her spontaneous second sequence carefully, thus rendering it repeatable.

The first 15 seconds of that sequence was recorded during the first take, the first 30 seconds during the second, the first 45 seconds during the third, and the entire sequence during the fourth. The visuals are accompanied by sound: Maurer is reciting a text by Sholokhov, which was recorded in 15, 30, 45, and second instalments as well.

These two materials are varied in the four sections of the film, always carefully aligned.

A film modellkísérlet a filmképen megjelenő mozgás relativitásának analízisére. A 16 mm-es kamera által rögzített film a három elem egymáshoz való kapcsolatától függő látványt elemzi, és bebizonyítja azt a tényt, hogy csupán a látványból kiindulva nem rekonstruálható a látványt létrehozó szituáció.

A bizonyítékot egy második 16 mm-es kamera szolgáltatja, amely a mozgó 16 mm-es kamera tevékenységét és a filmfelvétel folyamatát dokumentálja. This film is an attempt to model and analyse the relative movements registered on film.

The film recorded with the 16 mm camera analyses the view dependent on the interrelations between these three elements and demonstrates the fact that from the visuals alone, it is impossible to reconstruct the situation creating those visuals.

Evidence is provided by another 16 mm camera documenting the operations of the moving 16 mm camera and the process of shooting. A film első része a kamera és a lámpa egymáshoz viszonyított helyzetének variálásából keletkező látványlehetőségeket sorolja fel: 1.

The first part of the film surveys the potential scenes emerging from the variations of the relative positions of the camera and the lamp: 1. A lehetőségek felsorolásából látható, hogy ugyanazt a látványt többféle eljárással is létre lehet hozni.

A film második részében a kamera alulról filmezi a lámpa mozgását. Ebben a részben, csakúgy, mint az elsőben, a lámpa és a kamera az operatőr egymáshoz viszonyított helyzete, mozgása határozza meg a keletkező képet. A harmadik részben a rendszerbe belép egy fehér henger, amely a lámpa alatt helyezkedik el.

Ez kettővel növeli a rendszer elemeinek számát: hiszen maga a henger és a megvilágítás A két 16 mm-es film egymás mellé vetítése, majd kopírozása lehetőséget ad arra, hogy a néző megpróbálja megfejteni a látványt létrehozó szituációt.

Ugyanis először csak a mozgó kamera által rögzített kép, azaz a relatív látvány látható, s csak néhány másodperces késéssel jelenik meg a statikus kamera által rögzített kép. Maurer kidolgozza a közeli kamera és a lámpa mozgásviszonyainak lehetséges variációit, például az első szekvenciában a lámpa leng, a kamera mozdulatlan, a másodikban fordítva.

Az eredmény meglepően hasonló, akkor is, ha apró különbségeket veszünk észre. A Relatív lengések a mozgást tematizálja és hajlamunkat a rejtélyes képek megfejtésére.

Egy további kísérletsorban kis hengert világít meg a lengő lámpa. Igen furcsa, szokatlan és a spontán látást kérdőjelezi meg, mikor valaki arra az ötletre jut, hogy míg a lámpa fixen áll, a henger alatt az asztalt lengesse.

Projecting the two 16 mm films side by side and then replicating them, enables the spectator to try to unravel the situation causing the view.

First, after all, only the image of the moving camera, that is, the relative view is visible; it is after a lag of some seconds that we also see the images registered by the fixed camera.

Maurer develops the potential variations in the relative movement of the close-up camera and the lamp. In the first sequence, the lamp is swinging and the camera is still; in the second, the other way round.

The result is surprisingly similar, though one may spot minor differences. In another series of experiments, the swinging lamp illuminates a small cylinder.

It questions spontaneous sight in a peculiar way when one has the idea to fix the lamp and swing the table under the cylinder.

From this list of options it emerges that the same view may be produced by several different procedures. Here, as well as in the part, the relative position of the lamp and the camera man determines the emerging image. In the third part, a white cylinder enters the scene, placed underneath the lamp.

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This adds two elements to the view: in addition to the cylinder itself, its shadow produced by the lamplight is also always on the move, continuously changing. Az eltolás tárgyának és környezetének egyben látása teszi lehetővé Maurer számára, hogy a valódi eltolás mellett eltolásnak tekintse azt az esetet is, amikor egy mozdulatlan elem mozgó elemmel kerül kapcsolatba.

A mozgással, eltolással kapcsolatos kutatásainak, munkáinak motivációjaként a mozgás iránti személyes vágyát nevezi meg.

Az — körül készült még ábrázoló jellegű művei a helyváltoztatással járó mozgásokat vizsgálják. Az eltolódással kapcsolatos vizsgálódások nem kötődnek egyetlen médiumhoz, ebből a fogalomból kiindulva fotósorozatot, grafikát, faobjektet, temperával készült munkát, filmet egyaránt készített.

Az eltolással kapcsolatba hozható műveket aszerint csoportosítom, hogy geometriai eltolás, időbeli eltolódás vagy jelentés-eltolódás a legjellemzőbb aspektusuk.

Természetesen nem hagyható figyelmen kívül az, hogy ezek a jelenségek szorosan összefüggnek egymással, gyakran egymásba csúsznak egymásra tolódnak.

Seeing the object of displacement and its environment as an integral whole enables Maurer to extend the concept to motionless elements interacting with a moving element.

Maurer declares that her personal desire for movement motivatesher investigations and experimental work concerning motion and displacement.

Her still representational works from between and examine movements involving changes of place. A turn occurred insince when she has been interested in minimal movements and their subtly ironic modifications in ificance.

Studies in displacement are not restricted to one or another medium. Maurer has applied the concept to create photo series, graphic works, wooden objects, tempera works, as well as films.

I classify her creations related to displacement according to whether geometric, temporal, or conceptual-linguistic shifts dominate them. One cannot of course disregard the fact that these phenomena are closely linked to each other, often merging or overlapping shifting together.

Az egyenlő széles farostlemez csíkokon, 10 profilrajz összekevert részletei láthatók vízszintes irányban. A sávok egymáshoz képest elcsúsztathatók, ami egyéni Dózsaportrék kialakítására ad lehetőséget.

Azonban Maurer szóbeli közlése alapján tudjuk, hogy e mű esetében leginkább a szétcsúszásból fakadó területnövekedés érdekelte.

Edward the Confessor n son of Ethelred the Unready; King of England from to ; he founded Westminster Abbey where he was eventually buried St. Edward the Martyr n King of England who was a son of Edgar; he was challenged for the throne by supporters of his half-brother Ethelred II who eventually murdered him St.

John the Apostle n New Testament disciple of Jesus; traditionally said to be the author of the 4th Gospel and three epistles and the book of Revelation St.

John the Baptist n New Testament a preacher and hermit and forerunner of Jesus whom he baptized ; was beheaded by Herod at the request of Salome St. A zenekar nyolcadik stúdióalbuma, a Honey A zenekar a Utóbbi az Xflag animestúdió Xspice című rövidfilmjének főcímdala.

Az együttes dalait elsősorban pop-rock vagy pop-punk stílusba lehet besorolni, de számaikban megfigyelhetőek a danceaz elektronikus zenea garage rocka J-popa klasszikus rock and rolla ska punka grungea shoegazing vagy a reggae elemei is. A zenekar alapításakor nem tervezték, hogy annak tagjai valaha is dalokat fognak írni, ám az idő előrehaladtával, ahogy a stúdióban megfigyelték, amint mások zenét írnak nekik egyre nagyobb késztetést éreztek erre.

Korábban az együttes tagjai önállóan, egymással nem egyeztetve írták a dalszövegeket, azonban ettől kezdve kikérdezik egymás véleményét, megbeszélik a szám által sugárzott képet és annak jelentését, hogy ezeket bevonhassák a felvételek során.

A dalszövegírásban a legaktívabb Szuzuki, aki negyvenkettő dal szövegét írta. Ogava harminchét, Szaszazaki tizennyolc, Ono tizenkettő, míg maga az együttes tizennyolc számnál van feltüntetve dalszövegíróként, ezzel szemben tizenöt olyan számuk van, aminek más írta a szövegét.

Zeneszerzés tekintetében Szaszazaki a legaktívabb negyvenhárom szerzeményével. Szuzuki tíz, Ogava hét, az együttes három, míg Ono kettő dalt komponált.

Az együttes a B oldalas számaival rendszerint nagyobb kockázatot vállal, így olyan experimentális szerzeményeket jelentettek meg, mint a háromakkordos Playboy vagy az egy éjszakába elhúzódó értekezlet gyors berekesztésére írt Nai nai Nightmelyen az együttes tagjai güirón, csörgődobon, akusztikus gitáron, furulyán és cajónon, menedzsmentjük pedig dugattyús sípon és shakeren játszik.

Mi éppen ezért tesszük meg. Azért táncolunk, mivel szeretünk táncolni. Kijelenthetem, ha nem tehetném meg ezeket, akkor már rég kiléptem volna a zenekarból.

Az együttest több alkalommal skatulyázták be idolegyüttesnek, sőt még azt is megkérdőjelezték, hogy a hangszereken valóban ők játszanak vagy csak felvételről szólnak. Számos japán sajtóorgánum szerint a zenekarnak meghatározó szerepe volt a szigetország hangszeren játszó női együtteseinek számának nagyarányú növekedésében, valamint számos női gitárosra is nagy hatással voltak.

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A zenekar kezdetben mindig az iskolai tanórák után, az iskolai egyenruhában gyakorolt, ezért úgy gondolták, hogy akár ebben is felléphetnének a színpadon.

A rock nem aranyos, a pop viszont az. A Sakura Goodbye kislemezig gyakorlatilag csak a ruhadarabok színe, mintája változott. A következő kiadványuknál, a Sódzso S -nél a csokornyakkendőt egy ferdén csíkozott, klasszikus nyakkendő, míg a félcipőt Dr.

Martens -bakancs váltotta fel. Az elkövetkező öt évre előregondolván a ben megjelent Love Survive klipjében jelképesen megválnak a korábbi, iskolai egyenruhákat mintázó öltözéküktől és felnőttesebb kompozíciókat öltenek magukra, jelképezvén a nagykorúvá válásukat, illetve rockegyüttes mivoltukat.

Ez Onónál általában egyszerű, szűk farmernadrágból és valamilyen pólóból álló arculatot jelent, amit színes cipőkkel emel ki. Szaszazaki a hajszínéhez passzoló laza egyrészes vagy túlméretes felsőket hord, kiegészítőket csak nagyon ritkán visel, mivel rendszerint elhagyja azokat.

Billboard Japan Music Awards :. A Wikipédiából, a szabad enciklopédiából. Ez a közzétett változatellenőrizve : Ez a szócikk a japán együttesről szól.

Hasonló címmel lásd még: Scandal egyértelműsítő lap. Ebben a szócikkben a japán nevek magyaros átírásban és keleti névsorrendben szerepelnek. A Wikimédia Commons tartalmaz Scandal témájú médiaállományokat. Igazán csak akkor értheted meg azt, hogy ez a kultúra Japánhoz kötött, amikor külföldre utazol és egyetlen olyan országot sem találsz, ahol ennyi női együttes működne.

Ezen okból kifolyólag akarjuk ezt a mozgalmat Japán határain kívül is tovább bővíteni. Lehet, hogy el fog tartani egy darabig, de reménykedünk benne, hogy el tudjuk érni azt a korszakot, amikor a »női rock« a »rock« mellé emelkedhet.

Japán iskoláslányok egyenruháját mintázó ruhadarabokban …. Egy nancsatte szeifuku ára jen forint között mozog. Mainichi Broadcasting System.

Nem csak Flash táncosok gentlemens club cambridge viszonyokat hosszúságothanem időt is mér Maurer a Timing Időmérés című filmben.

MBS TV. Livedoor Hozzáférés: Nippon TV. The Daily Yomiuri.

Jomiuri Simbun Caless International, Geki otoboke Plus.

Tokyo MX. Sony Music Entertainment Japan. Sony Corporation. Neo XI 68— Mirai Communication Network Inc. Kitty Group. CyberAgent Music On! Plus new releases and future plans angol nyelven. Caless International. Epic Records Japan48— ESCL— Line Blog.