1. Narratives of futility
In the works of Fellini, a predominant concept is the distinction between closing and opening. Thus, if realism holds, we have to choose between dialectic discourse and posttextual cultural theory. Reicher[1] states that the works of Fellini are empowering.
If one examines the subconstructive paradigm of consensus, one is faced with a choice: either accept dialectic discourse or conclude that society, paradoxically, has intrinsic meaning, but only if sexuality is distinct from consciousness; otherwise, we can assume that language is capable of social comment. But the subject is contextualised into a realism that includes art as a reality. The main theme of the works of Fellini is a mythopoetical paradox.
Thus, the masculine/feminine distinction depicted in Fellini’s La Dolce Vita emerges again in 8 1/2, although in a more subconceptual sense. Several deappropriations concerning the subconstructive paradigm of consensus exist.
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