Review | escribir una resena ...

Generated on 2023-10-07 11:25:03

Result #1

escribir una resena sobre la pelicula: La grande bellezza, de Paolo Sorrentino. Con base a valorar el texto Contra la interpretacion, de Susan Sontag (una breve sinopsis, con su opinion, en uno o dos parrafos); y, a partir de esa valoracion, es decir, de su opinion sobre la tesis principal de Sontag (por que ella critica la interpretacion del arte, a que se refiere con describir en lugar de prescribir y que papel juega la erotica del arte en la recuperacion de nuestros sentidos), tan solo deben decir en uno o dos parrafos cual seria entonces la mejor manera de apreciar la pelicula que elijan. (With a partir, a valorar, a valorar, a valorar, a valorar, I have gathered all that they have written about, who has written about the architecture of our planet, the apparent beauty of its nature: The beauty of the earth, the natural development of its new forms, etc.) Dios de cuerpo (a favorite phrase of Argentine poet Jorge Luis Hermos), an architectate style, has been highly influential in contemporary art, but a kind of Baudelairean observer-practitioner developed as a result of the work of poets and writers like Fautrier, who gave such language as an essential element of his poetic and critical practice. In this show, Hermos demonstrated a fascinating degree of flexibility in his use of language and in his careful use of objects as mediums for creative thinking.Contrary to the impression that Hermos did not experiment in the past, his work in this show was an exploration of new possibilities. Several of the items in this show are life-size sculptures, some of them constructed from old bricks and others from old nails. However, the form of the works was rather odd, as if the bricks were supporting the nails. The wooden support was placed on the floor, where a bit of earth also lay on it. These elements were played against the metallic-looking support, and the result was a sensuous, almost poetic impression of gravity. Although the bricks were beautiful, they had a dirty look. They were dirty, but they were clean.In a second room, several new objects appeared, including one of the countrys most important artifacts, the Rubiros de Arco (Arcades), founded in 1947. The Arcades are in turn reminiscent of the compositions of early Cubism.

Result #2

Encantado en uno o dos parrafos, sú no peyos como el aura (The aura is the problem of us, not the artist, so that we are not only capable of understanding but of being able to read the aura). La maladía de siempre el aura (The lack of experience of the aura), se respitea el aura (The aura is the problem of us), se respitea la aura (The aura is the problem of us): to include all of these types of corscadoras (having no precedents) in one work, was the promise of the house of illusion.

Result #3

Result #4

escribir una resena sobre la pelicula: La grande bellezza, de Paolo Sorrentino. Con base a valorar el texto Contra la interpretacion, de Susan Sontag (una breve sinopsis, con su opinion, en uno o dos parrafos); y, a partir de esa valoracion, es decir, de su opinion sobre la tesis principal de Sontag (por que ella critica la interpretacion del arte, a que se refiere con describir en lugar de prescribir y que papel juega la erotica del arte en la recuperacion de nuestros sentidos), tan solo deben decir en uno o dos parrafos cual seria entonces la mejor manera de apreciar la pelicula que elijan. Bellezza, de Paolo Sorrentino. Con base a valorar el texto Contra la interpretacion, de Susan Sontag (una breve sinopsis, con su opinion, en uno o dos parrafos), y, a partir de esa valoracion, es decir, de su opinion sobre la tesis principal de Sontag (por que ella critica la interpretacion del arte, a que se refiere con describir en lugar de prescribir y que papel juega la erotica del arte en la rerumógica de nuestros sentidos), tan solo deben decir en uno o dos parrafos cual seria entonces la mejor manera de apreciar la pelicula que elijan. Bellezza, de Paolo Sorrentino. Con base a valorar el texto Contra la interpretacion, de Susan Sontag (una breve sinopsis, con su opinion, en uno o dos parrafos), y, a partir de esa valoracion, es decir, de su opinion sobre la tesis principal de Sontag (por que ella critica la interpretacion del arte, a que se refiere con describir en lugar de prescribir y que papel juega la erotica del arte en la rerumógica de nuestros sentidos), tan solo deben decir en uno o dos parrafos cual seria entonces la mejor manera de apreciar la pelicula que elijan. Bellezza, de Paolo Sorrentino.

Result #5

escribir una resena sobre la pelicula: La grande bellezza, de Paolo Sorrentino. Con base a valorar el texto Contra la interpretacion, de Susan Sontag (una breve sinopsis, con su opinion, en uno o dos parrafos); y, a partir de esa valoracion, es decir, de su opinion sobre la tesis principal de Sontag (por que ella critica la interpretacion del arte, a que se refiere con describir en lugar de prescribir y que papel juega la erotica del arte en la recuperacion de nuestros sentidos), tan solo deben decir en uno o dos parrafos cual seria entonces la mejor manera de apreciar la pelicula que elijan. Archivófico (Archivo) (Archivóficao) (Archivófic, architectural, architectural; or, surveying: surveying, and, on the outside, describing the results of the art of the past), 1947–1987, was a tour of the men who designed the structure of the museum and the individual spaces inside it.The exhibit showcased the critical and subjective approaches to the architects designs, which included the reconstruction of the original sculptures of the Sienese emperor, Benito Mussolini. Architektur, the standard of the time, defined the architecture of the day, according to its typical form, a grid of straight lines. The models were arranged according to a grid of rectangles, stacked in an ordered line. The developers of the museum in particular, such as Prado de Arte, Trevis, Degni, and Meza, presented in the museum and included such eclectic items as a childs book (Architektur), sketches for the museum itself, and a drawing of the area for a villa by Leopold Hergas. In addition to the monuments, the exhibition included the core elements of the museum, such as the order of rooms, the three-dimensional nature of the buildings, and the institutional orientation: Most of the buildings were to be housed in a single, central room. The architects of the museum, as well as some architects of other cities, also designed rooms at the museum, giving the exhibition an institutional dimension, and emphasizing the interpenetration of the various buildings into the architecture of the museum. The choice of rooms in the museum and their placement, the clusters of rooms in the museum, and the spatial arrangements that the architects made in the museums during the entire exhibition—which included the introduction of the giant structure of the museum—are all a part of the architectural symposium in this exhibition.