point blank – English Translation – Keybot Dictionary

Spacer TTN Translation Network TTN TTN Login Deutsch Français Spacer Help
Source Languages Target Languages
Keybot      51 Results   16 Domains
  5 Hits alumni.sharjah.ac.ae  
Show textShow cached sourceOpen source URL
point-blank
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dictionary.cambridge.org as primary domain
curt (1)
  6 Hits crowne-plaza-shanghai.bestsuzhouhotels.com  
Show textShow cached sourceOpen source URL
Point Blank DJ School
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine djsounds.com as primary domain
Product specifications
  3 Hits www.marisamonte.com.br  
Show textShow cached sourceOpen source URL
Wenn Sie dies vermeiden möchten, müssen Sie die Scanergebnisse point blank zu ignorieren. Das gleiche sollte auf alle gefälschte Sicherheitsbenachrichtigungen angewendet werden, erhalten Sie von Advanced Virus Remover.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine 411-spyware.com as primary domain
If you want to avoid this, you need to ignore the scan results point blank. The same should be applied to all the fake security notifications you receive from Advanced Virus Remover. Here is an example:
  hotel-berlin.su  
Show textShow cached sourceOpen source URL
If a CEO asked me point-blank for advice on how to use price in the best way possible in their company, what would I say? That is not a rhetorical question. I do hear that question often, and I realize that a CEO is not looking for an answer that begins with “It depends on your situation …” or “It’s really complicated.” They know that already. They want more.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine springerprofessional.de as primary domain
The principles of classical economics assume that buyers and sellers act rationally. Suppliers try to maximize their profits, while buyers try to maximize their value, or their “utility” in the vernacular of the economist. Under these principles, all parties have complete information. The sellers know how the buyer will respond to different prices, which means that they know their demand curves. The buyers know all available alternatives and their prices, and can make qualified judgments on the utility that each alternative provides, independent of its price.
  4 Hits www.sitesakamoto.com  
Show textShow cached sourceOpen source URL
Wir verließen das Stadion, monumentalen Marmelade, Alberto und beschließt, jedes Auto zu fragen, ob wir, durch die Fläche, auf die andere Seite der Stadt. Wir sagen ja (Hier sind charmant) und wir gingen zum Fahrzeug. Das Mädchen, una india, Point Blank fragt uns, ob wir verheiratet sind. Ich sage nein und antwortet mit einem "biennnn".
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine viajesalpasado.com as primary domain
The end of suffering fans, remember now in the quiet concentration apartment, fue a big finish. We left the stadium, monumental jam, and Alberto decides to ask any car if we take, by the face, to the other side of town. We say yes (Here are charming) and we proceeded to the vehicle. The girl, una india, Point Blank asks us if we are married. I say no and responds with a "biennnn". We immediately clear that the guy on the right is his brother (not kicked him and threw the car into gear almost), she is a massage therapist, his favorite color is red and emails and phone calls we. After a long talk, brothers deposited the generous Spanish fans in the place where they have parked their particular bus (we, rented car). Some evenings meats and wines, between songs and flags flying entry occurs in the house of concentration, as I said in the previous post, apartments called Mallorca. Now, forces responsible guardian swollen and clean Gambazo cares, Sunday will play more than one game; will play a poster 2 meters 1,20 to hang in the elevator of the neighborhood where they see them and Casillas, background, lifting the cup.
  eipcp.net  
Show textShow cached sourceOpen source URL
Im Hinblick auf die Fragestellung des Symposiums – „Representation of the ‚Other‘“[15] – ließe sich behaupten, dass das Andere/die Anderen in den Bildern der Kolonialpostkarten einer Form der Aneignung unterliegt/unterliegen, die sie gänzlich im Diskurs des Eigenen/des Kolonisators aufgehen lässt. (Sie sprechen letztlich auch über nichts anderes als diesen.) Im Gegensatz zu diesem Versuch der Verleugnung des Widerstands der Kolonisierten und der Aufhebung von Konflikt und Gewalt in erzwungener Harmonie zeigen die Fotos, die Marc Garanger 1960 in der Kabylei aufgenommen hat, ebendie Gewalt und den Widerstand. Garanger, wie Bourdieu ein unfreiwilliger Soldat in einem abgelehnten Krieg, war beauftragt, zum Zweck der Anfertigung von Identitätsausweisen Porträtfotos von Frauen zu machen, die aus ihren Dörfern in Lager umgesiedelt wurden. Der entwürdigende Akt der erzwungenen Entschleierung vor der Kamera des Feindes, eine Form der symbolischen Gewalt im unmittelbaren Kontext der physischen Gewalt der Umsiedlung, resultiert in einer stillen Äußerung von Selbstbewusstsein, Verweigerung und Widerstand. „The only way of protesting was through their look“, schreibt Garanger später. „They glared at me from point-blank range; I was the first to witness their silent but fierce protest.“[16] In der Meinung, dass diese Bilder das Gegenteil von dem aussagen würden, was seine AuftraggeberInnen in ihnen sahen, schmuggelte Garanger 1961 einige Fotos in die Schweiz, um sie dort in einer Zeitschrift zu publizieren. Bei diesen Bildern haben wir es mit einem radikalen Gegenpol zur Verweigerung von Gleichzeitigkeit im orientalistischen Genre der Postkarten zu tun. Carole Naggar fragt in einem Artikel zu Garangers Femmes Algériennes: „So why is it that, being victims, the Algerian women do not appear to be such? […] What we read here is a refusal. Saying no, the women seem to add: ‚Even if you have photographed us, we remain uncontrollable.‘“[17] The Other/die Andere ist hier unmittelbar gegenwärtig, weil die Serie nicht nur den Zusammenhang von Herrschen und Sichtbarmachen demonstriert, sondern auch den gewaltsamen Akt der Substitution einer persönlichen und kulturellen Identität durch eine kolonialpolitische Identitätskonzeption.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine eipcp.net as primary domain
Given the theme of the symposium, “Representation of the Other”[15], it may be asserted that the Other/Others represented in the colonial postcards is/are subject to a form of appropriation, which allows them to become completely absorbed in the discourse of the West/the colonizer. (After all, they talk about nothing else.) In contrast to this attempt to deny the resistance of the colonized and this neutralizing of conflict and violence into an enforced harmony, the photos taken by Marc Garanger in 1960 in Kabylia show precisely that violence and resistance. Garanger, an unwilling soldier like Bourdieu in a war he disapproved of, was given the task of taking pictures, for use in identity cards, of women who had been transplanted from their villages to the camps. The degrading act of enforced unveiling before the enemy’s camera, a form of symbolic violence in the immediate context of the physical violence of resettlement, results in a silent expression of identity, denial and resistance. “The only way of protesting was through their look”, Garanger later writes. “They glared at me from point-blank range; I was the first to witness their silent but fierce protest.”[16] Believing that these images would express the opposite of what their clients saw in them, Garanger smuggled some photos into Switzerland in 1961 to publish them in a magazine there. In these images, we are dealing with a radical opposite to the denial of coevalness in the orientalist genre of postcards. In an article on Garanger’s Femmes Algériennes, Carole Naggar asks: “So why is it that, being victims, the Algerian women do not appear to be such? [ ... ] What we read here is a refusal. Saying no, the women seem to add: ‘Even if you have photographed us, we remain uncontrollable.’”[17] The Other is immediately present here, because the series not only demonstrates the interrelation between ruling and making visible, but also the violent act of substituting a personal and cultural identity with a conception of identity determined by colonial politics.
  transversal.at  
Show textShow cached sourceOpen source URL
Im Hinblick auf die Fragestellung des Symposiums – „Representation of the ‚Other‘“[15] – ließe sich behaupten, dass das Andere/die Anderen in den Bildern der Kolonialpostkarten einer Form der Aneignung unterliegt/unterliegen, die sie gänzlich im Diskurs des Eigenen/des Kolonisators aufgehen lässt. (Sie sprechen letztlich auch über nichts anderes als diesen.) Im Gegensatz zu diesem Versuch der Verleugnung des Widerstands der Kolonisierten und der Aufhebung von Konflikt und Gewalt in erzwungener Harmonie zeigen die Fotos, die Marc Garanger 1960 in der Kabylei aufgenommen hat, ebendie Gewalt und den Widerstand. Garanger, wie Bourdieu ein unfreiwilliger Soldat in einem abgelehnten Krieg, war beauftragt, zum Zweck der Anfertigung von Identitätsausweisen Porträtfotos von Frauen zu machen, die aus ihren Dörfern in Lager umgesiedelt wurden. Der entwürdigende Akt der erzwungenen Entschleierung vor der Kamera des Feindes, eine Form der symbolischen Gewalt im unmittelbaren Kontext der physischen Gewalt der Umsiedlung, resultiert in einer stillen Äußerung von Selbstbewusstsein, Verweigerung und Widerstand. „The only way of protesting was through their look“, schreibt Garanger später. „They glared at me from point-blank range; I was the first to witness their silent but fierce protest.“[16] In der Meinung, dass diese Bilder das Gegenteil von dem aussagen würden, was seine AuftraggeberInnen in ihnen sahen, schmuggelte Garanger 1961 einige Fotos in die Schweiz, um sie dort in einer Zeitschrift zu publizieren. Bei diesen Bildern haben wir es mit einem radikalen Gegenpol zur Verweigerung von Gleichzeitigkeit im orientalistischen Genre der Postkarten zu tun. Carole Naggar fragt in einem Artikel zu Garangers Femmes Algériennes: „So why is it that, being victims, the Algerian women do not appear to be such? […] What we read here is a refusal. Saying no, the women seem to add: ‚Even if you have photographed us, we remain uncontrollable.‘“[17] The Other/die Andere ist hier unmittelbar gegenwärtig, weil die Serie nicht nur den Zusammenhang von Herrschen und Sichtbarmachen demonstriert, sondern auch den gewaltsamen Akt der Substitution einer persönlichen und kulturellen Identität durch eine kolonialpolitische Identitätskonzeption.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine transversal.at as primary domain
Given the theme of the symposium, “Representation of the Other”[15], it may be asserted that the Other/Others represented in the colonial postcards is/are subject to a form of appropriation, which allows them to become completely absorbed in the discourse of the West/the colonizer. (After all, they talk about nothing else.) In contrast to this attempt to deny the resistance of the colonized and this neutralizing of conflict and violence into an enforced harmony, the photos taken by Marc Garanger in 1960 in Kabylia show precisely that violence and resistance. Garanger, an unwilling soldier like Bourdieu in a war he disapproved of, was given the task of taking pictures, for use in identity cards, of women who had been transplanted from their villages to the camps. The degrading act of enforced unveiling before the enemy’s camera, a form of symbolic violence in the immediate context of the physical violence of resettlement, results in a silent expression of identity, denial and resistance. “The only way of protesting was through their look”, Garanger later writes. “They glared at me from point-blank range; I was the first to witness their silent but fierce protest.”[16] Believing that these images would express the opposite of what their clients saw in them, Garanger smuggled some photos into Switzerland in 1961 to publish them in a magazine there. In these images, we are dealing with a radical opposite to the denial of coevalness in the orientalist genre of postcards. In an article on Garanger’s Femmes Algériennes, Carole Naggar asks: “So why is it that, being victims, the Algerian women do not appear to be such? [ ... ] What we read here is a refusal. Saying no, the women seem to add: ‘Even if you have photographed us, we remain uncontrollable.’”[17] The Other is immediately present here, because the series not only demonstrates the interrelation between ruling and making visible, but also the violent act of substituting a personal and cultural identity with a conception of identity determined by colonial politics.