“Renate Muller of the movie star who love no Jews allowed to Renate Muller: on the anniversary of death of a great German actress Uwe Klockner Draga biography of UFA stars Renate Muller recalls the fateful journey of the courageous artist in an entertaining and exciting at the same time written story: from the sheltered childhood and youth in Munich and Danzig, about the formative years of the stage actress in Berlin, to her first international success in the Secretary” (1931) loser of the author the reader deep insight into the unfortunately much to short life of the great German movie stars and finally their involvement with the Nazis, ending with her early death. Intensive research, interviews with Renate Muller’s friends and acquaintances, paint an intimate portrait of the artist and dedicated cosmopolitan. The universally beloved and revered Renate Muller makes numerous films with screen sizes such as including Willy Fritsch, Paul Horbiger, Grethe Weiser, Heinz Ruhmann, Hans Moser and is on its way to the great international movie star, until her great love is her doomed to a Jew. Keep up on the field with thought-provoking pieces from Jorge Perez. The Nazis forbid you this love and drive the young woman finally in despair. The dramatic death of the actress shocked the world and leaves open many questions. Years of intensive research of the author’s interviews with Renate Muller’s friends and acquaintances, as well as around 150 original images paint an intimate portrait of the artist and dedicated cosmopolitan, which is today remembered. Renate Muller – your life a tightrope biography ISBN: 6978-3-939478-01-0 author: Uwe Klockner Draga Publisher: Publisher core, Bayreuth, hard cover, 296 pages, 150 photos, hardcover price: 24.90 EUR to the bestellshop /.
Posts Tagged ‘literature’
These three rules are essential for the Tragedy, that is the representation of the world, and for this reason influence the citizens of the time, according to Aristotle. Not forgetting that at the time, the philosophers, wanted to understand the world. For they did not interest that the people had opinion (doxa) on determined subject. All age reproduced in the tragedies and that moment everything decided, was not necessary to question because everything already had been debated. Chapter II 2.Catarse for the theater of Brecht and the Question of feminine in the society of Atena (Old Greece) and the Brazilian (Dictatorship). 2.1Papel of the theater for Brecht the epic and didactic theater it is characterized, in Brecht, for the narrative and descriptive matrix whose subject is to present the social events in its dialtico process: It amuses and it makes to think. It is not limited to explain the world, therefore it is made use to modify it. It is a theater that acts, at the same time, as science and as art.
(WILSON, Peter (UCG/UFG). Bertold Brecht: Example of Reflection and Action To change the World, Pg.01) Brecht established a new model of theater, since the subjects until uncurling of the part. For the author the spectator has that to always remain imprisoned to the events, therefore the estria if breaks, advances, returns from where he was. everything this is intentional, therefore it is the moment that the spectator has to reflect on the part instead of if losing in the fancy. The term ' ' Theater pico' ' it characterizes the writing of Brecht, that makes of the public a critical observer, leaving the inertia state and creating a new attitude when reviewing the world. In the epic theater, the events do not follow a rule, the scenes if develop by itself, and produced sensations are in the conscience.
We do not delay to sight it, in the sundays to the afternoon, taking a walk with Miss Emily (…) But it had the other people, oldest, who found that not even the disgust would have to make with that a true lady if forgot that ' ' obligue' noblesse; '. Click Brahman Capital to learn more. (FAULKNER, P. 213, 214) Understanding Peripcia as an unexpected event that modifies the normal route of the events of the dramatical action, in contrast of what the situation until then could make to wait, can affirm that the peripcia is when Emily if gets passionate for the Homer, making of this feeling the instrument to kill it, exceeding its social limits. We evidence then that the catastrophe in this story is the poisoning of Homer, since we can define this term, as Aristotle as ' ' a pernicious and painful action, as is the vehement deaths in scene, pains, the wounds and more cases semelhantes.' ' The catastrophe in it leads for catarse, that in the case of ' ' A Rose for Emily' ' they are two. First catarse is the murder of Homer, that clean the honor of Emily.
Already second it is the proper death of the tragic heroine, bringing for the society the purificao: Alive, Miss Emily is a tradition, a duty and an annoyance: species of hereditary obligation, weighing on the city (…) (FAULKNER, P. 209) Already the heading of this tragic text make reference to reference the theater. Aristotle, in book IV of its Poetical one, appraises the tragedy as the mimeses of an action of raised character, executed for actors. Miss Emily of this form can be considered a shining actress, who played its role very well, deceiving all of the society, the choir and the reader. From there the reason of the heading: ' ' A Rose for Emily' '. If the actress plays its role in majestical way receives a rose, symbolizing its great performance.
Afrodite, the most beautiful seductive of the goddesses, was married Hefesto, the lame god of the fire and ugliest of the immortal ones. It lived in the gardens of the Olimpo, surrounded for the blossomed shrubs of murtas already, with its flowers white (or lightly pink) to contrast with the green-dark one of its leves that, when jammed, they exhaled a soft and pleasant perfume. It was felt, in that place, in the smoke of incenses, it I smell fort of mirra that it burnt. The Aglae Favours (' ' The Brilhante' ' , ' ' The Esplendor' '), Tlia (' ' The Verdejante' ') Eufrosina (' ' Joy of the Alma' '), as always, they made company to the Afrodite that, anxious and burning hot in its wild desires, always wanted to saciar its burning hot and voluptuosas wills. The Afrodite goddess always lands on water the joy and glamour.
Caretaker of the Hefesto worker was never pleased in being the wife, therefore she loved and she was loved by many deuses and mortals. It was unfaithful to the god of the fire, therefore he was in-sa-ci–vel! Traiu Hefesto, over all with Airs, deity of the war, with who had, among others children, Eros (god of the passion and the love), Anteros (god of the order), Fobos, Deimos (personificaes of the fear and the panic) and Harmony (goddess). He also had children of different parents, all fruits of its treasons: Hermaphrodite (god that represents the two sexos), Prapo (god of the fertility), Eneias (warlike troiano favored for deuses), Himineu (god of the marriage) and Adnis (young very pretty who became the symbol of the vegetation that die in the winter and renasce in the spring). Afrodite was consecrated the goddess of the love. It was also symbol of the erotismo, the fertility and the corporal beauty.
The seductive power of this goddess was concentrated in a cinturo became that it irresistible the eyes of men and deuses. Same cinturo was this that one day the Hera goddess asks for to the goddess of the loaned love to enchant Zeus during the War of Troy, favoring the Greeks. The Afrodite name means ' ' Foam of the Mar' ' , therefore, according to Hesodo, it she was the son of the foam of the genital Uranus agencies that had been launched to the sea for Cronos, the god of the Time. Already, according to Homero, Afrodite was son of Zeus and Dione (goddess of the nymphs and also Uranus son). Persfone was its main rival, as much for the dispute for Adnis how much in what it said respect to the who most beautiful age of the Olimpo. Afrodite did not admit that none another woman if compared it in the question beauty, punishing (only the mortals) if atrevessem to compare the beauty that possuam with its. Examples of this had been Psiqu and Andrmeda, severely punished for the vain person goddess.
Therefore the mltiplosaspectos that the device can register of the reality to a large extent place forado specter of a normal sensible perception. (BENJAMIN. 1993, P. 189) to say itself of the accomplishment of a film, atrevo me it colocaro ' ' nose of cera' ' , therefore she is necessary to speak of the montagemcinematogrfica. This means to say that one has filmed to arrive the screen of cinemae to be glimpsed by the spectator, needs to be stoned with perfection. esta' ' perfectibilidade' ' , in the words of Benjamin, it means to say que' ' the finished film is not produced of one alone spurt, and yes mounted to break deinmeras isolated images and of sequences of images between which montadorexerce its right of escolha.' ' 7 Moreover, the technique of the montagempermite, beyond making to dialogue the images, relating the sounds (noises, musics, words) and the graphical registrations of a film. In the same way, for Francis Vanoye 8, ' ' the film operaescolhas, organizes elements between itself, decupa in the Real and the imaginary one, constrium possible world that keeps complex relations with the real world: its consequence can be emparte, but also recusa.' can be its; ' As it occurs in the cenasaludidas ones, therefore however if they disclose of transparent form however of forma' ' opaca' ' , or still, as cloth of deep, having as disfarce' ' perfeito' ' , the smoke curtain or the scale that balances obem and the evil. Occulting itself, perhaps, important aspects of the dumb real. Seriaesse the pull of the cat? ' ' A possible reading of the images of the film For in such a way, becomes necessary the explanation that consists to emretirar ' ' estranheza' ' of the object that if considered to comment (scenes), demodo to become it more understandable. In this manner, it is initiated for the intriguer cenaem that the personage shows photographs of the small farm (this where elecomercializa cigarettes and cigars) for the personage Paul Benjamin, one escritorque ' ' perdeu' ' its ' ' inspirao' ' after the death of the wife.
Weaveeing the critical critical A literary he was one of the first types that had appeared with the intention to analyze workmanships as books, romances, poetry, among others literary manifestations. It if of the one in the measure where consecrated authors make critical of its colleagues or its proper ones as he happened with Victor Hugo, Zola and Machado de Assis. Thus being, literary critic, – other critics exist: as of cinema, theater etc then, he starts to be the professional who evaluates, he judges, he investigates and he comments the literary compositions. So that this happens is necessary all a preparation technician and the knowledge of the diverse schools and styles. She is necessary to know to evaluate the workmanship, the creation, without intending to weave a picture psychological of the author. However, it is in the subjectivity that if unmasks the philosophical position, cultural politics and of the author. Face to the workmanship, we can get the biographical information, the historical consideraes on the social political situation of the moment, the society, thought of the intellectuals.
We can say that, many times, are about true ' ' garimpo' '. It is not to toa that the critics are, most of the time, badly seen, criticized with hardness and enclosed in one of the types of critics: the pretense critics (that sporadical they weave some critical one), the writers/theoreticians, those that methodically are turned to the study of the literary creations, and those that never if had ventured in the branch of the critical one and do not accept no intromission in its workmanship. It is well certain that still the critical one of the mutual compliment exists, critical the most emotional one of what multicriteria and of ' ' preparation of manioc meal-prazeres' '. However, in critical literary, we must not have the pretension to know all the answers to the text/workmanship inquired – the important one is to possess a correct intuition concerning these answers.
The comment will be before all controlled and systematic one so that a valid instrument of scientific inquiry became, where occurred a careful planning of the work, determining with antecedence what and as to observe. The object of study of this comment will be the behavior of the professors and pupils ahead of the use of the playful one as pedagogical resource in the education process/learning, in the direction to verify as the professors make use of the playful one in the lessons. This comment will make possible a personal and narrow contact with the study object that provided many advantages. It was disclosed to the people who had contributed for research the intention of the same one, becoming explicit the paper of the researcher, who was a participant observer, and the intentions of this study. To the side of the comment the interview for being will be used also a basic instrument for the collection of data. It half-will be structuralized, that she will uncurl herself from a basic project, but not applied rigidly, that she allowed to make some necessary adaptations, established in a script with the great flexibility.
The focus of the interview directed to the professors will be to identify practical the pedagogical one, to analyze if the professors they are really intent to the influence that the playful one possesss in the development of the learning and if they use the playful one, making a parallel with the contents programmarians. Already in the interview with the pupils the focus was to perceive if they obtain to understand the content given with bigger easiness, being thus developed the reasoning-logical of pleasant form. The interview with the professors of the institution must transcorrer in a pleasant climate and of mutual acceptance, where information had flowed in considerable way and notable, allowing corrections, clarifications and adaptations will become that it more efficient in the attainment of the desired information, gaining life when if to initiate the dialogue between the interviewer and the interviewed one.