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? Yes, there are fantastic chore- ographers like Mats Ek who interpreted Swan Lake quite dif ferently. But where is the theme about fascism in Sweden, where are the pieces about women, for instance the clitoral mutilation of women in Africa? About Che Guevara? People don’t dare to do that. One could also do a choreog- raphy about how all our culture in Germany is going to be ruined. They have studied ballet like mad, modern dance, and now they are without a job. Why doesn’t anyone do a piece about this? Alexandra Kolb 4 Terror without End? Choreographing the

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striving toward. This something is a something that has many names. It can be called curiosity, or empathy, or a certain collegial friendship and courtesy. It can be defined, as the writer Ralph Ellison (1952/2001) did through his biographical African American experience (in the 1940s and 1950s), as the structural circumstances of the inner eye, reflecting on the ability or inability to see things from different sides and perspectives, the openness or closedness for different views and visions. This part, from the beginning of the prologue, is worth quoting

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the church to the representation of women in Italian and American films in the years between 1945 and 1960, in light of the new role that sexuality, family and maternity played in the national cinema. Treveri Gennari examines the danger that a sexually empowered woman constituted for the Catholic establishment and how the Church responded to the representation of such women in certain films. This approach therefore exposes the Church-based system of assessing the moral content of films – as viewed in the over 6,000 parish cinemas – and a comparison with the

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the spectator’s imagination. This subtle dif ference acknowledges that violence cannot be represented in the theatre, but only presented. In the second half of the production, the theme of the ‘obscene’ is fur- ther developed with the introduction of Elizabeth Costello.151 In Coetzee’s eponymous novel, Elizabeth Costello, the celebrated Australian writer travels the world giving lectures about topics ranging from African lit- erature and the lives of animals, to censorship and representations of the Holocaust. In the stage production, she appears standing on a

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Ensemble actor Ekkehard Schall performed a double Brecht-Beckett bill to contrast the positive model provided by the proletarian protagonist of Brecht’s The Education of Millet (Die Erziehung der Hirse, 1950) with the futile existence portrayed in Krapp’s Last Tape (1958). Speaking of Becket’s reception in the former GDR, Werner Huber identifies four phases of possible responses: “refutation,” “rapprochement or subversive appropriation,” “recovery or rescue” and “post-propriation,” which to a certain extent echo the Irish writer’s tortuous reception in China. In

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regions and cities, with significant consequences for the families left behind in the women’s home countries.4 During the same period other feminist scholars, such as Jacqueline Andall, Bridget Anderson, Encarnación Gutiérrez-Rodríguez, and Rhacel Salazar Parreñas, began to explore in similar ways the transnational dimensions of migrant domestic work and to scrutinise its affective ramifications.5 Published in 2000, Andall’s monograph relates specifically to the Italian context, directly addressing the migration of African women to Italy for domestic work from

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a further point along an art-historical continuum whose emphasis on the principles of design found its roots in the art of the Italian Renaissance.13 Audiences failed to recognize this, however, and Fry was repeatedly accused of subversion and anarchism, particularly at the time of ‘Manet and the Post-Impressionists’, where the work of Cézanne, Gauguin and Matisse was shown together. Sympathetic to the plight Fry faced in 1910, Virginia Woolf observed years later: ‘For so many years he had helped to educate the taste of that public […] Now when he asked

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now the land is covered with “bernes” and “shipnes” (cowsheds) so that “this maketh that ther ben no fayeryes” (Benson 2008 p. 117). Likewise, the world of essential song moved gradually into the realm of magic and the supernatural for the readers of writers such as Chaucer. Relatively few men and women in late medieval Europe recorded music in notation, and arguably far more continued to create song in traditional ways, but the location of song became widespread and more complex as the more intel- lectualized processes of notation and of retrieval from this

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Proper Musical Education for Antwerp’s Women, in: Music Educa- tion (as note 3), 84–125, especially 88, 91, 103, 111–112. Barbara Haggh 31 sic in 1558 while a clerk at Magdalene College, Oxford, and later on, but even if he was a composer, which is not at all clear, his main occupation was as a singer and organist.23 In view of this evidence, it is surprising that a number of early compos- ers or writers on music are called secretaries or notaries in documents, and that others held offices we assume must have required some writing, such as Johannes Ockeghem the

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, partivano per la lontana America, come praticamente ogni giorno oggi centinaia di clandestini dall’Africa tentano di sbarcare sulle isole o sulle coste dell’Italia meridionale e dieci anni fa dall’Albania sulle coste adriatiche. Nella didattica delle lingue straniere testi letterari e film aprono di continuo finestre su altri spazi culturali e su altri tempi. Quando nell’insegnamento di una L2 si sceglie di lavorare con un testo letterario e con il suo adattamento cinematografico, accanto ai criteri basilari di contenuto (1. è fondamentale che il film e il testo