標(biāo)題: Titlebook: Beckett, Deleuze and the Televisual Event; Peephole Art Colin Gardner Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limi [打印本頁] 作者: 拼圖游戲 時(shí)間: 2025-3-21 19:34
書目名稱Beckett, Deleuze and the Televisual Event影響因子(影響力)
書目名稱Beckett, Deleuze and the Televisual Event影響因子(影響力)學(xué)科排名
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書目名稱Beckett, Deleuze and the Televisual Event讀者反饋學(xué)科排名
作者: 有偏見 時(shí)間: 2025-3-21 22:53 作者: Commonwealth 時(shí)間: 2025-3-22 03:13
,Beyond Percept and Affect: Beckett’s , (1964) and Non-Human Becoming, text in the latter’s overall cinematic taxonomy. Deleuze uses it as a reverse proof of the three varieties of movement-image through their progressive extinguishing or exhaustion, moving in reverse order from the action-image, through the perception-image, to the affect-image. However, Deleuze has 作者: Confound 時(shí)間: 2025-3-22 05:02 作者: gastritis 時(shí)間: 2025-3-22 10:28 作者: 整頓 時(shí)間: 2025-3-22 13:11 作者: Custodian 時(shí)間: 2025-3-22 17:03 作者: 含水層 時(shí)間: 2025-3-22 21:16 作者: 潔凈 時(shí)間: 2025-3-23 05:02 作者: Banister 時(shí)間: 2025-3-23 05:51 作者: 圣歌 時(shí)間: 2025-3-23 10:16 作者: 膽大 時(shí)間: 2025-3-23 15:32 作者: 增長 時(shí)間: 2025-3-23 20:09
Advances in Intelligent and Soft Computing text in the latter’s overall cinematic taxonomy. Deleuze uses it as a reverse proof of the three varieties of movement-image through their progressive extinguishing or exhaustion, moving in reverse order from the action-image, through the perception-image, to the affect-image. However, Deleuze has 作者: 遷移 時(shí)間: 2025-3-23 23:23 作者: 引起痛苦 時(shí)間: 2025-3-24 04:43 作者: GRAIN 時(shí)間: 2025-3-24 08:55
W. Sieklicki,M. Ko?ciuk,S. Sieklicki which was first transmitted in Germany by SDR in October 1981 under Beckett’s own direction as ... As Herren notes, ‘Beckett defines . as “A piece for four players, light and percussion”, giving equal billing to each element, and treating no element as more important — let alone more “human” — than作者: Adj異類的 時(shí)間: 2025-3-24 14:00 作者: 刪減 時(shí)間: 2025-3-24 16:55 作者: EXUDE 時(shí)間: 2025-3-24 21:09
Book 2012An expressive dialogue between Deleuze‘s philosophical writings on cinema and Beckett‘s innovative film and television work, the book explores the relationship between the birth of the event – itself a simultaneous invention and erasure - and Beckett‘s attempts to create an incommensurable space within the interstices of language as a (W)hole.作者: Agnosia 時(shí)間: 2025-3-24 23:10
https://doi.org/10.1057/9781137014368Beckett; cinema; film; philosophical writing; philosophy; television; video; British and Irish Literature作者: 出生 時(shí)間: 2025-3-25 04:14 作者: 注入 時(shí)間: 2025-3-25 08:12
P. Cudek,J. W. Grzyma?a-Busse,Z. S. Hippeature talking heads severed from the rest of the human body set against black, featureless backgrounds which act as dark fields of obsessive memory and forgetting, both voluntary (.) and involuntary (. and .). Here past, present and future collide and intermingle in the iterative time of the actual filmic event we are watching.作者: 整體 時(shí)間: 2025-3-25 14:38 作者: CRACY 時(shí)間: 2025-3-25 16:54 作者: 責(zé)任 時(shí)間: 2025-3-25 21:14
Advances in Intelligent and Soft Computingrstness) that we discussed in the last chapter as a primordial zone of indetermination. ‘How can we rid ourselves of ourselves, and demolish ourselves? This is the astonishing attempt made by Beckett in his cinematographic work entitled ., with Buster Keaton’ (Deleuze, 1986, p. 66).作者: Nefarious 時(shí)間: 2025-3-26 00:09 作者: nitroglycerin 時(shí)間: 2025-3-26 07:54
,Beyond Percept and Affect: Beckett’s , (1964) and Non-Human Becoming,rstness) that we discussed in the last chapter as a primordial zone of indetermination. ‘How can we rid ourselves of ourselves, and demolish ourselves? This is the astonishing attempt made by Beckett in his cinematographic work entitled ., with Buster Keaton’ (Deleuze, 1986, p. 66).作者: Arb853 時(shí)間: 2025-3-26 08:34 作者: 刀鋒 時(shí)間: 2025-3-26 13:52 作者: Myosin 時(shí)間: 2025-3-26 20:33
,Matter and Memory: The Image as Impersonal Process in , (1966), , (1977) and …,… (1977), as pure process. All three teleplays attempt to reconstruct memory through the telling of fictions — that is, through fabulations — as a means of overcoming the deadening effects of the past’s Oedipal sexual economy. By rejecting the Name of the Father and embracing the non-Oedipal oral mother, Bec作者: 細(xì)胞學(xué) 時(shí)間: 2025-3-26 22:41 作者: 低三下四之人 時(shí)間: 2025-3-27 04:35
Video-body, Video-brain: , (1983) as Televisual Event,o the surrounding darkness, we finally hear the words from the closing three bars of the lied: ‘Holde Tr?ume, kehret wieder.’ Then as if on cue, the light fades down on the man (dubbed simply ‘A’ in Beckett’s script) and he remains minimally lit as he starts to dream. We fade up on his dreamt self (作者: 吹牛者 時(shí)間: 2025-3-27 07:10 作者: 非實(shí)體 時(shí)間: 2025-3-27 13:21
A. ?witoński,R. Bieda,K. Wojciechowskiitative flux. Real time is a continuous, non-segmentable stream which cannot be captured or framed with mechanistic concepts. According to Bergson, ‘there is no feeling, no idea, no volition which is not undergoing change every moment: if a mental state ceased to vary, its duration would cease to fl作者: microscopic 時(shí)間: 2025-3-27 14:13
M. Jaszuk,G. Szostek,A. Walczak as pure process. All three teleplays attempt to reconstruct memory through the telling of fictions — that is, through fabulations — as a means of overcoming the deadening effects of the past’s Oedipal sexual economy. By rejecting the Name of the Father and embracing the non-Oedipal oral mother, Bec作者: 嘲弄 時(shí)間: 2025-3-27 21:04
W. Sieklicki,M. Ko?ciuk,S. Sieklickich, as we will see, extends to the subsequent 1983 SDR production of . — so that ‘by the 1980s the flow of original Beckett productions for television and the money to finance them was from continental Europe to Britain, rather than the other way around as hitherto’ (Bignell, 2003, p. 168). In short作者: Offbeat 時(shí)間: 2025-3-28 01:34 作者: 白楊 時(shí)間: 2025-3-28 03:49
N. Pham,B. M. Wilamowski,A. Malinowski. begins with the impossibly aporetic sentence, ‘This (therefore) will not have been a book’ (Derrida, 1981, p. 3) — let us come clean from the outset and rid ourselves of the pretence that what follows is an ending or summing up. To paraphrase Derrida, by Conclusion’s end, ‘This (book) will not hav作者: 焦慮 時(shí)間: 2025-3-28 06:22
“Whatever It Takes” and the Banking Unionnation of the Volvo Group. In a reply to Mintzberg’s (1979:293) statement that popular business trends (in the present case, different manifestations of greening) exert a strong influence on the techniques of corporate management, Rothenberg and Maxwell offered reasons based on DiMaggio and Powell’s
