Der Duft GENTLEMAN GIVENCHY, der als Eau de Cologne oder als Eau de Toilette Spray verfügbar ist, gehört zu den zeitlosen Parfum-Klassikern für Herren. Der berühmte Parfumeur Paul Léger entwickelte diese komplexe und ausgesprochen maskuline Duftkreation bereits im Jahre 1974 für das französische Luxus-Label Givenchy. Bis heute hat GENTLEMAN nichts von seiner Faszination verloren, die mit direkter Männlichkeit und raffinierter Sinnlichkeit überwältigt. Das Eau de Cologne oder Eau de Toilette Spray GENTLEMAN GIVENCHY eignet sich als perfekter Begleiter am Tag und Abend für selbstbewusste Männer, die genau wissen, was sie wollen.Ein unvergesslicher Duft von Givenchy - würzig, elegant und männlichPaul Léger setzte bei diesem Duft für Givenchy auf Patchouli als dominierende Komponente und sorgte damit für viel Aufsehen. Diese Duftzutat besitzt einen leidenschaftlichen Charakter, dem kaum jemand widerstehen kann. Zusammen mit frischen, blumigen und erdigen Aromen drückt GENTLEMAN von GIVENCHY raffiniert die vielen verschiedenen Aspekte des Selbstverständnisses moderner Männer aus. Die Kopfnote dieses Eau de Cologne beziehungsweise Eau de Toilette Spray weist neben Bergamotte auch Honig und Zimt sowie Zitrone und Rose auf. In der Herznote lassen sich als Ergänzung einer intensiven Patchouli-Note Iris, Zeder und Jasmin wahrnehmen. Auch im Schlussakkord spielt Patchouli eine wichtige Rolle. Hinzu kommen Leder, Amber und Eichenmoos sowie Vetiver, Vanille und Moschus.
Walter Felsenstein (1901–1975), founder and general director of the Komische Oper in Berlin, was one of the twentieth century’s greatest creative theatre directors, who played a hugely important role in the revival of opera as a theatrical art form. A brilliant artist who directed over 190 productions during the course of his career, he was equally committed to the works, their creators, the ensemble and the audience.The Marriage of Figaro that received its premiere on 26 February 1975 in the Komische Oper Berlin was Walter Felsenstein’s last production and in many respects can be regarded as representing his legacy. Having just returned from directing a guest production at Vienna’s Burgtheater, Felsenstein had been working on Figaro since early February 1974. He had already directed three productions of the work – in 1934 in Cologne, in 1942 at the Salzburg Festival and in 1950 at the Komische Oper. For the latter production, he had used earlier translations as the basis for producing a new text version, but he now decided that this was inadequate, as he had reached the conclusion that from the point of view of both form and expression, rhyme was crucial at many points in the musical numbers. He also wanted to further fine-tune the formulation of the text – putting the emphasis on the sense rather than word-for-word equivalence (which was, in any case, impossible). For a 74-year-old, Felsenstein had a punishing work schedule. In addition to working on Figaro (translating the libretto, analysing the pieces with the conductor, working on the overall concept, holding discussions with the set and costume designers), he also had to find time for his work as General Director, for congresses, for a guest production of Bluebeard and for many other duties. His principle was, “always to start from the beginning again, to try to reach an understanding of the text and the music as though they had never before been interpreted or ‘understood’. I call it ‘taking the work literally’. And it is above all the music that has to be taken literally.” Thus he tried to approach even his fourth production of the work in a spirit of ‘naivety’, while, at the same time, benefiting from the experience gained with his previous productions. With inexorable meticulousness, Felsenstein pored over the opera, consulting its roots in the works of Beaumarchais and Paisiello (The Barber of Seville) in order to be able to understand the relationship between the characters in Mozart’s work.
High Quality Content by WIKIPEDIA articles! Rukmini Varma (b.1940) is an Indian artist based in Bangalore. Born as H.H. Princess Bharani Thirunal Rukmini Bayi to H.H. Princess Uthram Thirunal Lalithamba Bayi and Sri. Kerala Varma Avargal, she is a granddaughter of Maharani Sethu Lakshmi Bayi and belongs to the Travancore Royal Family. Her great great grandfather was Raja Ravi Varma. Her father Kerala Varma is an artist specializing in charcoal and pencil sketches while her son Jay Varma is a colored pencil artist. Into the 1960s Mrs. Varma became interested in dance forms like Bharatanatyam, Kathak, Kathakali etc. and has performed on stage. She also established her own dance school in 1965 in Bangalore. She has held several art exhibitions such as the "Conch and the Cauvery" exhibition of 1974 in Delhi which was opened by President V.V. Giri. She has exhibited her paintings in London (1976, opened by Lord Mountbatten), Jehangir Art Gallery, Bombay (1981), Bonn, Cologne and Neuenahr, Germany (1975) etc.
Oswald Mathias Ungers (July 12, 1926 September 30, 2007) was a German architect and architectural theorist, known for his rationalist designs and the use of cubic forms. Among his notable projects are museums in Frankfurt, Hamburg and Cologne. Oswald Mathias Ungers was born in Kaisersesch in the Eifel region. From 1947 to 1950 he studied architecture at the University of Karlsruhe under Egon Eiermann. He set up an architectural practice in Cologne in 1950, and opened offices in Berlin in 1964, Frankfurt in 1974 and Karlsruhe in 1983.
Aus Anlass des 40-jährigen Bestehens der Galerie Max Hetzler vereint die Gruppenausstellung „Remember Everything“ aktuelle Arbeiten von 21 Künstlern, die durch die Galerie derzeit vertreten werden. Die Dokumentation dieser Ausstellung ist aber nur der Grundstein für dieses Buch, erweitert durch Interviews mit den Künstlern, die an ihre Zeit mit der Galerie und ihre dort ausgestellten Arbeiten zurückdenken. Der einleitende Essay und eine ausführlich bebilderte Chronologie erzählen die ganze Geschichte der Galerie Max Hetzler von den Anfängen in Stuttgart über Köln nach Berlin, die durch das beeindruckende Aufgebot der vielen international bedeutenden Galeriekünstler zu einem Teil der Geschichte der zeitgenössischen Kunst geworden ist.UNDERGROUND GEOGRAPHY(Auszug aus der Einleitung von Jean-Marie Gallais)The group exhibition entitled „Remember Everything“ (after a work by Darren Almond) opened in the vast space at Osramhöfe, Berlin-Wedding—the last event organized there by Max Hetzler and Samia Saouma’s gallery. That show brought together recent works, some created expressly for the occasion, by all the artists represented by the gallery at this time. „Remember Everything“: the words probably resonated throughout the weekend in the minds of Max and each of the artists, who are more than partners in the adventure. From the outside, the title of the exhibition might suggest a historical overview, but it’s more in the nature of a freeze frame: this is what the Galerie Max Hetzler is, this is its substance, forty years after its opening. Only a printed wall at the further end of the space set out in chronological order the impressive program of exhibitions realized since 1974. A few months later, this book comes to close the event while extending it…If there is a single lesson to be learned from the first twenty years of Galerie Max Hetzler, the “before-Berlin-era,” it is the answer Max invariably gives the journalists when they ask him, as they often do, what his guiding vision is: “The program is the artists.” And this was no doubt even more relevant for the following twenty years: it was in Berlin that the current Galerie Max Hetzler took shape. Chronology becomes more vague and porous. Günther Förg, Albert Oehlen, Jeff Koons, Thomas Struth, and Christopher Wool were still shown in Berlin as they were in Cologne, and did important exhibitions here. Over the next few years, Samia and Max had determining encounters with those (native or adoptive) Londoners, Darren Almond, Glenn Brown, Michael Raedecker, Bridget Riley, Rebecca Warren, Toby Ziegler. It was while Rineke Dijkstra was in residence in Berlin that they made her acquaintance. Yves Oppenheim, meanwhile, left Paris permanently for the German capital. In an exhibition curated by Sarah Morris in 1997, Hospital, they met Darren Almond but also Richard Phillips, with whom they began to work. Glenn Brown had a first solo show in 2000, Vera Lutter in 2002. In the early years of the new millennium, Max also took an interest in the painting of German artist Frank Nitsche, and in that of André Butzer. Then he traveled with his very close friend, “the publisher” (Max so designated him in a chronicle he wrote once for a magazine), and in Brazil they came across Beatriz Milhazes, Ernesto Neto, and Marepe. In 2005, during an exhibition of drawings and works on paper, Samia invited Mona Hatoum, who subsequently had three exhibitions at the gallery. In 2007, they began to work with an artist that they had long admired, Bridget Riley, who made her first wall painting in the gallery on this occasion. Just before, Rebecca Warren had presented her work there for the first time, Toby Ziegler and Michael Raedecker followed with solo exhibitions in the past five years. All these marvelous and brilliant artists have made Remember Everything. It is these artists who are the substance of the exhibition, of this book, and of the Galerie Max Hetzler.The story of the Galerie Max Hetzler is the story of a little legend unwilling so to conceive itself. This book has not been made in order to glorify it but to give an account of what has happened.“The great thing about Max is that he always prepares you and gives you plenty of time to think about an exhibition. I’m very close to him and he’s had a huge effect on my life. When he’s thinking about a show he invites you to Berlin and shows you the space and you have a lot of time to prepare. I worked really hard to create something for this huge, raw space in Berlin-Wedding. Because I had this time, the exhibition felt a bit like a curated museum show and reflected what was a self-examining, questioning moment in my practice.” Darren Almond“Max was very personally involved with his artists, he used to hang out with them all the time. Was Max an artist at one time? Because he was living almost the same lifestyle with them. His relationship to artists was like brotherhood. In general, there was a sense of bonding, being part of one’s generation. It was very interesting to have this European reference or counterpoint, from my American point of view. I don’t mean a counterpoint in the sense of opposite, but to see what happened there in a contemporary moment. I felt we were all connected with each other. We found counterparts in Europe to what our ambitions were. I think that Kippenberger and Oehlen would also have considered that myself and Gober, Wool, and different people represented the same type of energies here in New York. We were united in Max’s gallery and from there we started to exhibit together internationally.” Jeff Koons“I wanted to work with somebody who had the willpower to move things. Actually, I didn’t know at that time how much Max likes changes! He is a risk taker and he makes quick decisions. Look at the evolution of the gallery: when I came it was the Cologne scene, Kippenberger, Mucha, Büttner, Kiecol, Oehlen, and it’s completely different today. The art changed, Max changed, the gallery changed a lot. I think meeting Samia and the birth of their son Max Jr. were two decisive turning points. He’s also this kind of gallerist: when you ask something, his response is not exclusively colored by his own interests. Max thinks more about what’s best for his artists.” Thomas Struth
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Linguistics, grade: 2,3, University of Cologne (Englisches Seminar), course: The English Lexicon, language: English, abstract: 1. Introduction Since mankind uses language it formed sentences to communicate. Therefore it is necessary to put words together in a meaningful way. 'But although a word is a unit which is familiar in our culture, the notion that it has an internal structure is not.' (Matthews 1974 : 9). That is where morphology comes in. Being a Professor of Linguistics at the University of Cambridge Peter Matthews published his well known book 'Morphology'. It is about his thoughts and results of research in that concern. What is morphology? Morphology is beside syntax, semantics and phonology and phonetics one major subfield of linguistics. Its origin is in nineteenth century as the first reference for morphology in the Oxford English Dictionary was in the 1860s. It deals with the word itself. That means morphology is about forms of words in different uses and constructions. It is divided into subfields like lexical or inflectional morphology. Lexical morphology is concerned with relations among lexemes such as compounding whereas inflectional morphology deals with paradigms which show a lexeme in terms of categories like Singular and Plural. This term paper is to regard both subfields of morphology in reference to creating new words (neologisms) in the Early Modern period. It is beside from borrowing aiming a special aspect of word structure namely word-formation because this two means represent the most significant ways out of which many neologisms arose. But what is it that makes words and their structure or formations so interesting? Words help us to express ourselves. We produce them every day. So everybody is involved in that concern. I personally have never asked before where all these words that we use more or less every day have come from. That is one reason for writing this term paper. I have chosen the Early Modern period because this time enlarged the English lexicon extremely: 'An examination of the language itself shows that the period was indeed one of great vocabulary expansion...' (Barber 1976 : 219). Moreover it is to be presented what kind of words came up and whereby they occurred in that time.
This book is the result of two courses of lectures given at the University of Cologne in Germany in 1974/75. The majority of the students were not familiar with partial differential equations and functional analysis. This explains why Sections 1, 2, 4 and 12 contain some basic material and results from these areas. The three parts of the book are largely independent of each other and can be read separately. Their topics are: initial value problems, boundary value problems, solutions of systems of equations. There is much emphasis on theoretical considerations and they are discussed as thoroughly as the algorithms which are presented in full detail and together with the programs. We believe that theoretical and practical applications are equally important for a genuine understa- ing of numerical mathematics. When writing this book, we had considerable help and many discussions with H. W. Branca, R. Esser, W. Hackbusch and H. Multhei. H. Lehmann, B. Muller, H. J. Niemeyer, U. Schulte and B. Thomas helped with the completion of the programs and with several numerical calculations. Springer-Verlag showed a lot of patience and under standing during the course of the production of the book. We would like to use the occasion of this preface to express our thanks to all those who assisted in our sometimes arduous task.