Have you read “Twenty Thousand Leagues Under the Sea” by Jules Verne? Or, maybe, you are a fan of dystopian novels? What I’m asking you to do at the moment is to remember at least one story where characters use advanced technologies we can’t even dream about, or a story which takes place in the distant future.
I’m sure you tried to put at least one of all those recommendations for writing academic papers or boosting your productivity in college which are floating around the Internet into practice. So, how did it work?
In the second part of our review essay, we interpret the most famous performance “Rhythm 0” by Marina Abramovic as well as draw a parallel between it and the Lars von Trier’s film. Furthermore, both the joint artworks and the legendary connection between two artists Marina Abramovic and Ulay are described.
In the first part, the recipient’s impressions about three “Freeing...” performances are described. Besides, the analysis of Marina’s understanding of art is given in the paragraph about performance “Art must be beautiful.” Finally, there are also mentioned intersemiotic parallels between Abramovic’s performance and Edward Munch’s canvas.
Today the phenomenon of the tattoo is a quite usual element of human appearance on all continents. Typically, the tattoo is widely supported by popular culture, in particular by numerous Hollywood films, what, correspondingly, intensifies the popularity of tattoo in those countries – likewise, East Europe and post-Soviet countries – where it has been considered as a criminal mark. On the contrary, in the regions where the tattoo is an old and far non-original body accessory – the USA, South America, Australia, West and South Europe, etc. – the idea of a tattoo as a sign of conformism and “peacockery” is increasingly discussed.
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