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1000 tulosta hakusanalla Jörg Vogelmann

Elements of Comedy in Luis Valdez's Acto Los Vendidos as Techniques for Communication and Mobilisation

Elements of Comedy in Luis Valdez's Acto Los Vendidos as Techniques for Communication and Mobilisation

Jorg Vogelmann

Grin Verlag
2008
nidottu
Seminar paper from the year 2006 in the subject American Studies - Linguistics, grade: 1,3, University of Stuttgart (Institut f r Literaturwissenschaft: Anglistik/Amerikanistik), course: Literary Studies: Seminar: "Essay Writing and Interpretation of Literary Texts," 8 entries in the bibliography, language: English, abstract: "The emphasis of Luis Valdez's Teatro Campesino lies on] (...) communication to the oppressed, not about them" (Bagby, Valdez 70). This statement of Bagby's underpins the necessity for literary scholars to pay special analytical attention to the comedic elements in Valdez's dramas. Indeed, it is the relationship between the playwright and his audience of Chicano workers that especially takes its effectiveness from the techniques and elements of comedy, especially satire. Many critics underline Valdez's importance both because he denounces the discrimination and exploitation of Chicanos in the United States and his direct address to oppressed Mexican-Americans, e.g., striking campesinos. The communication to his fellow-countrymen has always been essential for Valdez as a political writer. It has been this successful and mass-mobilising (for example in the 1965 Delano Grape Strike) as his actos (short plays dramatizing the oppression of the fieldworkers) are based on comedic and satiric elements. These techniques have been used since archaic or Plato's times by critical authors to mobilise the hearts and minds of human beings against a political system or to remedy an abuse. The thesis that Valdez's play Los Vendidos consists of various comedic patterns to enable a thrilling, entertaining and effective communication between the author and his Chicano audience to sustainably deliver Valdez's political messages can be seen when analyzing his probably most famous acto and the types of comedy he uses. Los Vendidos can be assigned to classifications like low, realistic or satiric comedy. This, indeed, shows how strongly Valdez relies on comedic-satiric
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Ascending China and the Hegemonic United States

Ascending China and the Hegemonic United States

Jörg Vogelmann

Springer VS
2020
nidottu
Jörg Vogelmann looks into one of the central political and economic relationships of the 21st century. The author finds Sino-U.S. ties marked by strong, slightly asymmetric (economic) interdependence, a relatively fast economic power transition under way as well as slow to moderate shifts in military power. He develops a neoliberal and a neorealist grand theory picture of Sino-U.S. and international relations, and empirically verifies these influential perspectives by analyzing post-Cold War Chinese and U.S. foreign policies in the major flashpoints the Taiwan and the North Korea issue. Despite and due to globalization, ties between ascending China (as a potential regional or once even global U.S. challenger) and the hegemonic United States may likely continue to be marked by strategic power politics – and will decisively affect trans- and international relations.
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Jörg Breu the Elder

Jörg Breu the Elder

Andrew Morrall

Routledge
2019
nidottu
This title was first published in 2002: Jörg Breu belonged to the generation of German Renaissance artists that included Dürer, Cranach, Grünewald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jörg Breu's art and its reception, not just in his own period, but right up to the present day.
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Jörg Breu the Elder

Jörg Breu the Elder

Andrew Morrall

Routledge
2017
sidottu
This title was first published in 2002: Jörg Breu belonged to the generation of German Renaissance artists that included Dürer, Cranach, Grünewald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jörg Breu's art and its reception, not just in his own period, but right up to the present day.
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Jorg Hamburger - Georg Staehelin

Jorg Hamburger - Georg Staehelin

Lars Muller Publishers
2017
nidottu
Their posters manifest a reduced expression, convincing in a poetic-sensuous manner while challenging intellectually. In particular the posters advertising exhibitions convey complex contents in a puristic and timeless form. The creations by Hamburger are characterised by a more pro- nounced adherence to tradition-while Staehelin's experimental openness often leads to surprising results.The joint works of the two reveal the mutual appreciation and fruitfulness of the professional exchange; sensitively developed posters for the Museum of Design re ect an inspiring combination of graphic design principles and a pure delight in creative design.With an essay by Claude Lichtenstein
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