圣歌
发表于 2025-3-23 10:16:12
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胆大
发表于 2025-3-23 15:32:55
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增长
发表于 2025-3-23 20:09:51
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
迁移
发表于 2025-3-23 23:23:27
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引起痛苦
发表于 2025-3-24 04:43:20
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GRAIN
发表于 2025-3-24 08:55:25
W. Sieklicki,M. Kościuk,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
Adj异类的
发表于 2025-3-24 14:00:10
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删减
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EXUDE
发表于 2025-3-24 21:09:27
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.
Agnosia
发表于 2025-3-24 23:10:43
https://doi.org/10.1057/9781137014368Beckett; cinema; film; philosophical writing; philosophy; television; video; British and Irish Literature