A lasting makeover — or under — to the point of unrecognizability?
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There's a lot less recognizable territory in Us, which instead mines tension from the extreme unrecognizability of the situation.
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The other half had been twisted into unrecognizability by something violent: Beowulf in the mead hall, wrenching Grendel's arm from his body.
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The other half had been twisted into unrecognizability by something violent: Beowulf in the mead hall, wrenching Grendel's arm from his body.
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She wards their invisible tent, brews Polyjuice Potion, and hexes Harry into unrecognizability when they're captured — but it's Harry who kills Voldemort, of course.
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What's jarring about this is not just recognizing someone in this new unrecognizability but seeing a struggling human where previously we had seen something else.
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At the genre's worst, it rewards singers with jab but no depth, who distend notes to the point of unrecognizability, creating a kind of neutered new-age sound.
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Initially a music associated with the lower classes, rebetiko later reached greater general acceptance as the rough edges of its overt subcultural character were softened and polished, sometimes to the point of unrecognizability. Then, when the original form was almost forgotten, and its original protagonists either dead, or in some cases almost consigned to oblivion, it became, from the 1960s onwards, a revived musical form of wide popularity, especially among younger people of the time.
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Even from the outset of her artistic career she had been leaning towards a reexamination of the expressive capabilities of visual art.Jovan Despotović, Slobodanka Stupar, Arti, vol. 39, may-july, p.p. 204-207, Athens, 1998 Combining the incompatible, to maintain any discourse (in this case visual) one has to remove or circumvent ordinary comprehensibility, or "sense"; to make something "apparent" the plastic narrative had to be reduced to the brink of unrecognizability in order to be "seen" as a new work.
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Barth expands the theory of indirect communication to the field of Christian ethics; he applies the concept of unrecognizability to the Christian life. He coins the concept of the “paradox of faith” since the form of faith entails a contradictory encounter of God and human beings. He also portrayed the contemporaneity of the moment when in crisis a human being desperately perceives the contemporaneity of Christ. In regard to the concept of indirect communication, the paradox, and the moment, the Kierkegaard of the early Barth is a productive catalyst.
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The most successful songs during the period 1870–1930 were the so-called Athenian serenades, and the songs performed on stage (επιθεωρησιακά τραγούδια 'theatrical revue songs') in revue, operettas and nocturnes that were dominating Athens' theater scene. Rebetiko, initially a music associated with the lower classes, later (and especially after the population exchange between Greece and Turkey) reached greater general acceptance as the rough edges of its overt subcultural character were softened and polished, sometimes to the point of unrecognizability. It was the base of the later laïkó (song of the people). The leading performers of the genre include Vassilis Tsitsanis, Grigoris Bithikotsis, Stelios Kazantzidis, George Dalaras, Haris Alexiou and Glykeria.
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