Search results for "Tanzer"
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Der Weg zur Tänzerin und zum Tänzer
Vor dem Hintergrund spezifischer Anforderungen im Feld der Tanzkunst wird aus einer praxeologischen Perspektive in den Blick genommen, wie junge Tänzer*innen eben diese bewältigen und wie sich biographische Prozesse des Tänzer*in-Werdens vollziehen. Letztlich wird aufgezeigt, dass sich bereits zu Beginn der Tanzkarriere – die Tänzer*innen sind 16 und 17 Jahre alt – ein Modus Operandi im entsprechenden Feld rekonstruieren lässt, der weitgehend den Fortlauf der Karriere bzw. deren Abbruch bestimmt. Der feldrelevante Habitus und der entsprechende Bewältigungsmodus stehen in einem unmittelbaren Zusammenhang zueinander, wobei keinerlei transformatorische Potentiale über die Dauer hinweg identifiziert werden. Das Plädoyer lautet: Zukünftig sollte stärker die Verwobenheit von Reproduktion und Transformation in den Blick geraten, anstatt von einem segregierten Dualismus auszugehen.
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Vanishing Vienna
In Vanishing Vienna historian Frances Tanzer traces the reconstruction of Viennese culture from the 1938 German annexation through the early 1960s. The book reveals continuity in Vienna’s cultural history across this period and a framework for interpreting Viennese culture that relies on antisemitism, philosemitism, and a related discourse of Jewish presence and absence. This observation demands a new chronology of cultural reconstruction that links the Nazi and postwar years, and a new geography that includes the history of refugees from Nazi Vienna.Rather than presenting the Nazi, exile, and postwar periods as discrete chapters of Vienna’s history, Tanzer argues that they are part of a continuous spectrum of cultural evolution—the result of which was the creation of a coherent Austrian identity and culture that emerged by the 1950s. As she shows, antisemitism and philosemitism were not contradictory forces in post-Nazi Austrian culture. They were deeply interconnected aspirations in a city where nostalgia for the past dominated cultural reconstruction efforts and supported seemingly contradictory impulses. Viennese nostalgia at times concealed the perpetuation of antisemitic fantasies of the city without Jews. At the same time, the postwar desire to return to a pre-Nazi past relied upon notions of Austrian culture that Austrian Jews perfected in exile, as well as on the symbolic remigration of a mostly imagined “Jewish” culture now taxed with redeeming Austria in the aftermath of the Holocaust. From this perspective, philosemitism is much more than a simple inversion of antisemitism—instead, Tanzer argues, philosemitism, problematic as it may be, defines Vienna in the era of postwar reconstruction.In this way, Vanishing Vienna uncovers a rarely discussed phenomenon of the aftermath of the Holocaust—a society that consumes, redefines, and bestows symbolic meaning on the victims in their absence.
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Henry Ossawa Tanner
Mathews's standard biography of Henry Ossawa Tanner (1859-1937), based on extensive research in archives in this country and family records in France, where Tanner emigrated before the turn of the century to find freedom and acceptance, provides a full account of Tanner's life and art.
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And Side by Side They Wander
For three hundred years, humanity’s greatest works of art have been on loan at the Greenwood Museum. It was finally time for them to come home...but the alien curators were disinclined to return them.Force was out of the question. Earth’s government was clear: they were not going to press the issue. So, all we had was guile and hubris to fuel our little intergalactic art heist.My old friend Tarquin was our leader, but not the captain. That was Tchik-tchik, though whether Tchik-tchik was our insectoid pilot’s name or species is still unclear to me. Misora, with her extremely illegal biotech mods, was our muscle.Jack was there to hack the security systems of the biggest museum in the galaxy. He was a sensynth, a sentient synthetic being, and the most powerful machine intelligence on Earth uncorrupted by alien technology.My name is Fennel Tycho. I’d like to tell you I was there because of my expertise in Art History. Truth is, I was there because without me, Jack would not have agreed to go. He was notorious for being difficult to work with—but it was a mistake to think I could make things any easier.A meditation on the nature of love, life, and the "culture of the copy," And Side by Side They Wander asks the question: In a future where there are clones, androids, and a sentient mycelium that creates fungal simulacra, who is real and what is fake?
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