ohler – English Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot      61 Results   24 Domains
  8 Hits www.kw-berlin.de  
Show textShow cached sourceOpen source URL
Foto Timo Ohler
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kw-berlin.de as primary domain
photo Timo Ohler
  www.ctt.muni.cz  
Show textShow cached sourceOpen source URL
Staatssekretärin Gabi Ohler – Thüringer Ministerium für Bildung, Jugend und Sport (TMBJS)
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine ejbweimar.de as primary domain
State Secretary Gabi Ohler – Thuringian Ministry for Education, Youth and Sport
  www.inf.ethz.ch  
Show textShow cached sourceOpen source URL
Autor: Renato Pajarola and Thomas Ohler and Peter Stucki and Kornel Szabo and Peter Widmayer
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine inf.ethz.ch as primary domain
Author: Renato Pajarola and Thomas Ohler and Peter Stucki and Kornel Szabo and Peter Widmayer
  2 Hits www.marliesdekkers.com  
Show textShow cached sourceOpen source URL
Wien: Mag. Sabine Ohler
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine viennaregion.at as primary domain
Vienna: Sabine Ohler
  4 Hits www.tquiz.org  
Show textShow cached sourceOpen source URL
Nicole Ohler
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine troteclaser.com as primary domain
International (en)
  www.tu-cottbus.de  
Show textShow cached sourceOpen source URL
Prof. Dr. Peter Ohler, Institut für Medienforschung
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine tu-cottbus.de as primary domain
Prof. Dr. Peter Ohler, Institute for Media Research
  www.uni-koblenz-landau.de  
Show textShow cached sourceOpen source URL
Patrick Ohler
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine uni-koblenz-landau.de as primary domain
Fabian Jager
  archive.wilmes.belgium.be  
Show textShow cached sourceOpen source URL
Timo Ohler
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine berlinische-galerie.de as primary domain
Photographs 2017
  www.db-artmag.de  
Show textShow cached sourceOpen source URL
Anknüpfend an das Exil, das David Bowie, Iggy Pop oder Depeche Mode im Berlin der siebziger und frühen achtziger Jahre gefunden hatten, galt das Elend und die graue, bleierne Härte der nun wiedervereinigten Stadt als "inspirierend" und "zeitgemäß". Ob in Popsongs norwegischer Bands wie Briskeby oder den Romanen von Norman Ohler, überall tauchte Berlin, insbesondere der postmodernistisch aufgeräumte Osten der Stadt, als auratischer Ort auf.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
Although other regional centers such as Frankfurt or Munich had their own techno scenes, the two icons of techno and dancefloor culture were born in the cellars around Potsdamer Platz, Berlin's destroyed city center: the WMF Club and Tresor. The fact that these cellars were products of the Second World War and Germany's later division tickled the cozy feeling of horror already reflected in the ravers' camouflage and combat look, a kind of superficial contemplation on a historical, martial, and political legacy. The perfect anti-idyll had apparently been found. Borrowing on the feeling of exile that David Bowie, Iggy Pop, or Depeche Mode had found in Berlin of the seventies and early eighties, the grey misery and leaden severity of the reunified city was considered to be "inspiring" and "up to date." Whether in the pop songs of Norwegian bands such as Briskeby or the novels of Norman Ohler, Berlin - and especially the cheerily post-modern East Berlin - was turning up everywhere as a location steeped in aura. Due to a dialectic twist of the zeitgeist, the anti-idyll had become the new idyll. The zeitgeist of the late nineties and the new millennium had found its place.
  db-artmag.de  
Show textShow cached sourceOpen source URL
Anknüpfend an das Exil, das David Bowie, Iggy Pop oder Depeche Mode im Berlin der siebziger und frühen achtziger Jahre gefunden hatten, galt das Elend und die graue, bleierne Härte der nun wiedervereinigten Stadt als "inspirierend" und "zeitgemäß". Ob in Popsongs norwegischer Bands wie Briskeby oder den Romanen von Norman Ohler, überall tauchte Berlin, insbesondere der postmodernistisch aufgeräumte Osten der Stadt, als auratischer Ort auf.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
Although other regional centers such as Frankfurt or Munich had their own techno scenes, the two icons of techno and dancefloor culture were born in the cellars around Potsdamer Platz, Berlin's destroyed city center: the WMF Club and Tresor. The fact that these cellars were products of the Second World War and Germany's later division tickled the cozy feeling of horror already reflected in the ravers' camouflage and combat look, a kind of superficial contemplation on a historical, martial, and political legacy. The perfect anti-idyll had apparently been found. Borrowing on the feeling of exile that David Bowie, Iggy Pop, or Depeche Mode had found in Berlin of the seventies and early eighties, the grey misery and leaden severity of the reunified city was considered to be "inspiring" and "up to date." Whether in the pop songs of Norwegian bands such as Briskeby or the novels of Norman Ohler, Berlin - and especially the cheerily post-modern East Berlin - was turning up everywhere as a location steeped in aura. Due to a dialectic twist of the zeitgeist, the anti-idyll had become the new idyll. The zeitgeist of the late nineties and the new millennium had found its place.
  www.db-artmag.com  
Show textShow cached sourceOpen source URL
Anknüpfend an das Exil, das David Bowie, Iggy Pop oder Depeche Mode im Berlin der siebziger und frühen achtziger Jahre gefunden hatten, galt das Elend und die graue, bleierne Härte der nun wiedervereinigten Stadt als "inspirierend" und "zeitgemäß". Ob in Popsongs norwegischer Bands wie Briskeby oder den Romanen von Norman Ohler, überall tauchte Berlin, insbesondere der postmodernistisch aufgeräumte Osten der Stadt, als auratischer Ort auf.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
Although other regional centers such as Frankfurt or Munich had their own techno scenes, the two icons of techno and dancefloor culture were born in the cellars around Potsdamer Platz, Berlin's destroyed city center: the WMF Club and Tresor. The fact that these cellars were products of the Second World War and Germany's later division tickled the cozy feeling of horror already reflected in the ravers' camouflage and combat look, a kind of superficial contemplation on a historical, martial, and political legacy. The perfect anti-idyll had apparently been found. Borrowing on the feeling of exile that David Bowie, Iggy Pop, or Depeche Mode had found in Berlin of the seventies and early eighties, the grey misery and leaden severity of the reunified city was considered to be "inspiring" and "up to date." Whether in the pop songs of Norwegian bands such as Briskeby or the novels of Norman Ohler, Berlin - and especially the cheerily post-modern East Berlin - was turning up everywhere as a location steeped in aura. Due to a dialectic twist of the zeitgeist, the anti-idyll had become the new idyll. The zeitgeist of the late nineties and the new millennium had found its place.
  db-artmag.com  
Show textShow cached sourceOpen source URL
Anknüpfend an das Exil, das David Bowie, Iggy Pop oder Depeche Mode im Berlin der siebziger und frühen achtziger Jahre gefunden hatten, galt das Elend und die graue, bleierne Härte der nun wiedervereinigten Stadt als "inspirierend" und "zeitgemäß". Ob in Popsongs norwegischer Bands wie Briskeby oder den Romanen von Norman Ohler, überall tauchte Berlin, insbesondere der postmodernistisch aufgeräumte Osten der Stadt, als auratischer Ort auf.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
Although other regional centers such as Frankfurt or Munich had their own techno scenes, the two icons of techno and dancefloor culture were born in the cellars around Potsdamer Platz, Berlin's destroyed city center: the WMF Club and Tresor. The fact that these cellars were products of the Second World War and Germany's later division tickled the cozy feeling of horror already reflected in the ravers' camouflage and combat look, a kind of superficial contemplation on a historical, martial, and political legacy. The perfect anti-idyll had apparently been found. Borrowing on the feeling of exile that David Bowie, Iggy Pop, or Depeche Mode had found in Berlin of the seventies and early eighties, the grey misery and leaden severity of the reunified city was considered to be "inspiring" and "up to date." Whether in the pop songs of Norwegian bands such as Briskeby or the novels of Norman Ohler, Berlin - and especially the cheerily post-modern East Berlin - was turning up everywhere as a location steeped in aura. Due to a dialectic twist of the zeitgeist, the anti-idyll had become the new idyll. The zeitgeist of the late nineties and the new millennium had found its place.