{"title":"物质的本质","authors":"Michael Tawa","doi":"10.1080/13264826.2021.1940478","DOIUrl":null,"url":null,"abstract":"For anyone struck by the cinema of Armenian filmmaker Sergei Paradjanov, Gilles Deleuze’s contention that his Sayat Nova (1969) represents “ponderous matter roused by the spirit”1 is an instructive...","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"25 1","pages":"391 - 393"},"PeriodicalIF":0.2000,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Matter of Matter\",\"authors\":\"Michael Tawa\",\"doi\":\"10.1080/13264826.2021.1940478\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"For anyone struck by the cinema of Armenian filmmaker Sergei Paradjanov, Gilles Deleuze’s contention that his Sayat Nova (1969) represents “ponderous matter roused by the spirit”1 is an instructive...\",\"PeriodicalId\":43786,\"journal\":{\"name\":\"Architectural Theory Review\",\"volume\":\"25 1\",\"pages\":\"391 - 393\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-08-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Architectural Theory Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/13264826.2021.1940478\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHITECTURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Architectural Theory Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/13264826.2021.1940478","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHITECTURE","Score":null,"Total":0}
For anyone struck by the cinema of Armenian filmmaker Sergei Paradjanov, Gilles Deleuze’s contention that his Sayat Nova (1969) represents “ponderous matter roused by the spirit”1 is an instructive...
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