werden grenzen – English Translation – Keybot Dictionary

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  entryscape.com  
Im America’s Cup werden Grenzen verschoben.
Boundaries are being pushed in the America's Cup.
  www.bio-pro.de  
Wie werden Grenzen aufrechterhalten?
How are the boundaries maintained?
  www.pallas.be  
Denn wir sind sicher: Wo Viele zusammenarbeiten, entsteht etwas Großes. Wo Viele Leidenschaft zeigen, kommen Dinge in Bewegung. Und wo Viele ein Ziel verfolgen, dort werden Grenzen überwunden. Genau diese Idee macht uns erfolgreich – heute und auch in Zukunft.
We believe the following to be indisputable: where many are collaborating great things are created. Where passion is shown by many things begin to move. And where many are heading towards the same goal, obstacles will be overcome. It is precisely this idea that makes us successful – today and in the future.
  www.aupairworld.com  
Werden Grenzen überschritten, kann auch der Wechsel des Au Pairs, zu dem sich Gastvater Ferdinand schließlich entschloss, eine Lösung sein: "Heute würde ich das nicht noch einmal mitmachen wollen – nicht auszudenken, was hätte passieren können! Nach wenigen Monaten trennten wir uns, da sie begann, bei Facebook öffentlich schlecht über uns zu sprechen – das war für uns nicht akzeptabel."
If lines are crossed, taking the decision that host dad Ferdinand finally did, to change au pairs, is often the best solution. "I wouldn't want to repeat this. I can only imagine what may have happened! After a few months we ended her au pair stay, as she began to publicly bad-mouth us on Facebook - that was unacceptable for us."
  2 Hits dnrsovet.su  
Das zweite hippe V-Neck T-Shirt aus unserer Kollektion steht ganz im Zeichen des Asylwahns. Wem der refugees-welcome-Wahn, genauso gegen den Strich geht wie uns, wer nicht mit ansehen will, wie Europa weiter auf den Abgrund zutreibt, der kann mit diesem Modell bildlich den Anker auswerfen. Der Wahnsinn muss gestoppt werden: „Grenzen hoch & Schotten dicht!“
The second hip V-neck T-shirt from our collection is dedicated to the current asylum madness. Not wanting the “refugees-welcome-mania” to succeed, not willing to see Europe drifting toward the abyss any further, one can, spoken figuratively, eject the anchor with this T-Shirt. This madness must be stopped: "Close the borders! - Batten down the hatches! "
  www.haitian.com  
Was ist privat, was öffentlich? Wie werden Grenzen verschoben? Neue Techniken spielen in diesem Zusammenhang mittlerweile eine wichtige Rolle und bewirken ein ständiges Wachstum dieses Marktes – Stichwort Kameras, Suchmaschinen, Drohnen, etc.
How sustainable are borders? How do we distinguish between what is private and what is public? How do boundaries get shifted? It’s safe to say that new technologies play a crucial role here, resulting in an increasing demand for cameras, search engines, drones, etc. However, the usefulness and relevance of all this massive amount of data is short-lived. Dutch artist Ronald Meulman has been engaging with this topical theme in an artistic way.
  dailyuspost.com  
Ein großartiges Vergnügen, bis Lina mit der attraktiven Klara um Alexanders Aufmerksamkeit kämpfen muss. Um ihren Vater zurückzugewinnen, imitiert das Mädchen, was sie von den Erwachsenen lernt. Es werden Grenzen überschritten, von denen Lina nicht einmal wusste, dass sie existieren.
Lina, 11-years old, is allowed to spend the evening with her father Alexander in the pub. A great time for the girl, until Alex feels attracted to another woman. To regain his attention, Lina starts to imitate what she learns from the adults. Soon, borders are crossed that Lina didn’t even know existed.
  www.pharmas.ba  
In Cattolica werden Grenzen niedergerissen, Entfernungen reduziert und Welten zusammengebracht, die sonst weit auseinanderliegen. Die vier verschiedenen Rundgänge sind mit unterschiedlichen Farben gekennzeichnet.
Distances and boundaries between different worlds dissolve as diverse habitats are all on show in one place. Discover the colours of the 4 themed itineraries of the Aquarium – blue for the seas and oceans, yellow for fresh water, green for exotic animals and purple for the sounds of the sea.
  www.theologicaleducation.net  
Im ersten Ausstellungsraum hat der Künstler dazu ein architektonisches Setting installiert, das in erster Linie aus mehrfach durchbrochenen Wänden besteht. Räumlichkeit wird so definiert und aufgelöst zugleich, Durchgänge sind inszeniert und im selben Moment werden Grenzen gezogen.
In the first exhibition room, the artist has installed an architectural setting that primarily consists of multiple perforated walls. There, space is defined and resolved at the same time, passages are staged while borders are drawn. And although the walls made out of white thin painted steel are thin as paper, they suggest a feeling of solid volume - a feeling that yet will be altered by the specific use of mirrors. Their quasi intangible space does not only locate an event, it also engages the beholder in the art work: namely, one may detect parts of his body on the walls of the installation, a hand for instance, or a detail of a leg. But because in this setting - in itself as artificial as realistic - the mirrors are hanging on a level not higher than the chest, the beholders’ faces always remain invisible, and outside the visual control of the mirror – The Less We Seem To Notice…
  hostess.oscard.it  
Basierend auf seiner 15-jährigen Erfahrung als Tänzer mit Ultima Vez und mehr als 20 Jahren Performance-Erfahrung in Tanz, Theater und Musik, wird Robs Workshop physisch anspruchsvolle Themen vorschlagen, die körperliche, psychologische und emotionale Risiken beinhalten. Es werden Grenzen in Frage gestellt und die Teilnehmenden werden dazu eingeladen, darüber hinauszugehen.
Drawing from his 15 years of experience working with Ultima Vez and based on over 20 years of performance research into dance, theatre, and music, Rob's workshop will propose physically demanding tasks that deal with elements of corporeal, psychological, and emotional risk. These tasks will inherently challenge various limitations, inviting the participants to go beyond them. The workshop is designed to unlock the flow of living impulses within the body. Once unlocked, our attention, intention and awareness guide our work naturally. The primary and practical focus throughout the workshop will be on the delicate meeting point between precision and primal movement qualities, awareness of space and one’s ability to react to its constituent elements and to improvise within a structure. The overriding emphasis is focusing on developing within oneself what can be called the ‘total act’; a state wherein the performer works toward creating his or her own ‘movement as a theatrical act’ rather than as a technique.
  multivacances.groupepvcp.com  
Dem folgt ein hypnotischer Flickerfilm von Christophe Giradet und Matthias Müller; in Contre-jour werden Grenzen filmischer Darstellbarkeit ausgelotet: eine Reise ins Terrain der Angst vor dem Erblinden – unheimlich und betörend zugleich.
A game of desire is staged in Mara Mattuschka and Chris Haring’s Burning Palace: an ornate hotel interior, in it a number of imprisoned bodies whose desire is gradually unleashed —exalted, grotesque, hysterical and comical in equal proportions. This is followed by a hypnotic stroboscopic film from Christoph Girardet and Matthias Müller: Their Contre-jour explores the limitations of filmic representation in an uncanny and beguiling journey into the territory of the fear of going blind. Siegfried A. Fruhauf offers a dream-like escape for our perception: His Tranquility floats on an extremely subtle found-footage collage into a realm beyond gravity and groundedness. Fruhauf’s latest work is a masterpiece of its genre. Screen tests for commercials provide the — unintentionally humorous — foundation of Peter Tscherkassky’s Coming Attractions. Created in years of painstaking, frame-by-frame work in the darkroom, some fine specimens of the most underappreciated genre in cinematography, advertising film, and its surreal scenarios are reinterpreted in a playful way.
  www.sixpackfilm.com  
Dem folgt ein hypnotischer Flickerfilm von Christophe Giradet und Matthias Müller; in Contre-jour werden Grenzen filmischer Darstellbarkeit ausgelotet: eine Reise ins Terrain der Angst vor dem Erblinden – unheimlich und betörend zugleich.
A game of desire is staged in Mara Mattuschka and Chris Haring’s Burning Palace: an ornate hotel interior, in it a number of imprisoned bodies whose desire is gradually unleashed —exalted, grotesque, hysterical and comical in equal proportions. This is followed by a hypnotic stroboscopic film from Christoph Girardet and Matthias Müller: Their Contre-jour explores the limitations of filmic representation in an uncanny and beguiling journey into the territory of the fear of going blind. Siegfried A. Fruhauf offers a dream-like escape for our perception: His Tranquility floats on an extremely subtle found-footage collage into a realm beyond gravity and groundedness. Fruhauf’s latest work is a masterpiece of its genre. Screen tests for commercials provide the — unintentionally humorous — foundation of Peter Tscherkassky’s Coming Attractions. Created in years of painstaking, frame-by-frame work in the darkroom, some fine specimens of the most underappreciated genre in cinematography, advertising film, and its surreal scenarios are reinterpreted in a playful way.
  eipcp.net  
Dies bringt „Identitäten“ und Grenzen hervor, essenzialisiert sie und macht uns glauben, dass es so etwas wie „Osten“ und „Westen“ als entgegengesetzte Entitäten gibt. Damit werden Grenzen im Kopf produziert.
Though they may demarcate spaces called “cultural”, all limits are by definition political. Borders multiply within and beyond states, across the spaces they are supposed to delineate; they may be social, political, legal, economic or otherwise beyond territoriality. Translation itself is political and contextual: it happens within globalisation and against the backdrop of partage de la raison[1], which is another way of stating the political. Concepts come to us in pairs of opposite notions such as male/female, black/white, within/without, up/down etc. The dichotomy, however, hides the dynamics, which are what concern us here. The symmetry in a binary is an illusion, since it usually conceals a hierarchy. Dichotomies are normative, and so are definitions. This creates “identities” and borders, essentializes them and makes you believe that there is such a thing as “East” and “West”, as two opposed entities. Borders in the mind are thus produced. But dyads are never sufficient to express the multiplicity and complexity of things. Proceeding through normative and appropriating binaries has historically been developed in Europe’s colonial expansion, has been maintained as a form of “othering” and is still largely part of postcolonial cultural and political mores. It is much easier to think with the help of such stable and inherited forms, identities or with borders. But we may now have to think with and from unstable forms and reckon with uncertainty. It is far less comfortable. This is an approach dealing with the dynamics and bifurcations of reason, of the mind and of conceptualisation. The capturing and subject-producing power of such dynamics is much more difficult to grasp than that of mere binaries, since what serves you may play against you. How do we translate two opposite meanings of the same discourse? And since when has there been such indistinctness in things and such dual meaning? I shall assume that it became very obvious from a specific year: 1989, a turning point, the end of the Cold War (and of a big binary), a year symbolic of a general conflation.
  transversal.at  
Dies bringt „Identitäten“ und Grenzen hervor, essenzialisiert sie und macht uns glauben, dass es so etwas wie „Osten“ und „Westen“ als entgegengesetzte Entitäten gibt. Damit werden Grenzen im Kopf produziert.
Though they may demarcate spaces called “cultural”, all limits are by definition political. Borders multiply within and beyond states, across the spaces they are supposed to delineate; they may be social, political, legal, economic or otherwise beyond territoriality. Translation itself is political and contextual: it happens within globalisation and against the backdrop of partage de la raison[1], which is another way of stating the political. Concepts come to us in pairs of opposite notions such as male/female, black/white, within/without, up/down etc. The dichotomy, however, hides the dynamics, which are what concern us here. The symmetry in a binary is an illusion, since it usually conceals a hierarchy. Dichotomies are normative, and so are definitions. This creates “identities” and borders, essentializes them and makes you believe that there is such a thing as “East” and “West”, as two opposed entities. Borders in the mind are thus produced. But dyads are never sufficient to express the multiplicity and complexity of things. Proceeding through normative and appropriating binaries has historically been developed in Europe’s colonial expansion, has been maintained as a form of “othering” and is still largely part of postcolonial cultural and political mores. It is much easier to think with the help of such stable and inherited forms, identities or with borders. But we may now have to think with and from unstable forms and reckon with uncertainty. It is far less comfortable. This is an approach dealing with the dynamics and bifurcations of reason, of the mind and of conceptualisation. The capturing and subject-producing power of such dynamics is much more difficult to grasp than that of mere binaries, since what serves you may play against you. How do we translate two opposite meanings of the same discourse? And since when has there been such indistinctness in things and such dual meaning? I shall assume that it became very obvious from a specific year: 1989, a turning point, the end of the Cold War (and of a big binary), a year symbolic of a general conflation.