Bd singer tausif biography sample paper
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Bibliografie/Bibliography (updated/Stand: 2021)
This biography is structured in 3 parts/Diese Bibliografie ist in 3 Teile aufgeteilt:
Monographs, catalogues and artist's books/Monografien, Kataloge und Künstlerbücher
Photography, writings, interviews and projects for magazines, catalogues, videos and record covers/Fotografien, Texte, Interviews und Projekte für Zeitschriften und Kataloge, Videos und Plattencover seit 1998
Selected articles on the artist/Artikel über den Künstler (Auswahl) seit 1998
Monographs, catalogues and artist's books/Monografien, Kataloge und Künstlerbücher
Wolfgang Tillmans, Taschen, Cologne, 1995, (reissued 2002)
Wolfgang Tillmans, Kunsthalle Zurich, Zurich, 1995
Wolfgang Tillmans, Portikus Frankfurt, Frankfurt a.M., 1995
Wer Liebe wagt lebt morgen, Catalogue Kunstmuseum Wolfsburg, Ostfildern-Ruit, 1996
Concorde, Verlag der Buchhandlung Walther König, Cologne, 1997
Burg, Taschen, Cologne, 1998 (reissued as 'Wolfgang Tillmans', 2002)
Totale Sonnenfinsternis, Galerie Daniel Buchholz, Cologne, 1999
Wako Book 1999, Wako Works of Art, Tokyo, 1999
Soldiers – The Nineties, Verlag der Buchhandlung Walther König, Cologne, 1999
Wako Book 2, Wako Works of Art, Tokyo, 2001
Portraits, Verlag der Buchhandlung Walther König, Cologne, 2001
Aufsic
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Introduction
1A group of Internet bloggers recently identified a young (bearded) man from Srinagar: a gesticulating demonstrator with eyes blazing, shouting frenzied slogans against the ‘Danish cartoons’, the Pope’s salvo on Islam, Israeli repression in Palestine, and the granting of a knighthood to Salman Rushdie, etc.1 ‘Spotting the Islamic Rage Boy’ is now a blogging pastime, and mocking the ‘fanatic other’ a merchandising enterprise.2 Yet no one knows why he feels so strongly about such diverse ‘Islamic causes’, nor ‘what moral visions inspire [his] outrage about often-distant practice and institutions’ (Jasper 1997: 5). No one even knows his name. Based on interviews with some of the protestors who took to the streets against the ‘Danish cartoons’ on 14th February 2006 in Lahore, this article is an attempt to unveil the selfhood of this emblematic figure of an outraged protestor, and to take his emotions seriously.
2Academics have long considered emotions devoid of any explanatory power in our understanding of social protests (Goodwin et al. 2004: 413). Trained in the Weberian tradition that ‘it is convenient to treat all irrational, affectually determined elements of behaviour as factors of deviation from a conceptually pure type of rational action’ (Weber 1978: